THE 
 
 GENTLEMAN'S and CONNOISSEUR'S 
 
 DICTIONARY 
 
 O F 
 
 PAINTERS. 
 
 CONTAINING 
 
 A complete Collection, and Account, of the moft diftinguifhed Artists, who 
 have flouriflied in the Art of Painting, at Rome, Venice, Naples, Florence, 
 and other Cities of Italy j in Holland, Flanders, England, Germany, 
 or Fr.ance; from the Year 1250, when the Art of Painting was revived by 
 Cimabue, to the Year 1767 ; including above Five Hundred Years, and the Number 
 of Artifts amounting to near One Thoufand Four Hundred. 
 
 EXTRACTED FROM 
 
 The mqft authentic Writers who have treated on the Subject of Painting, 
 in Latin, Italian, Spanijh, Eng/i/h, French, and Low Dutch, 
 
 TO WHICH ARE ADDED, 
 
 TWO CATALOGUES: 
 
 The one, a Catalogue of the Disciples of the moft famous Masters, for the Ufe of 
 thofe who defire to obtain a critical Knowledge of the different Hands and Manners of the 
 different Schools: — The other, a Catalogue of thofe Painters who imitated the Works 
 of the eminent Mafters fo exactly, as to have their Copies frequently miftaken for Originals. 
 
 The Whole being digefted in a more eafy and inftrudtive Method than has hitherto appeared; and calculated for 
 general Entertainment and Inftrudtion, as well as for the particular Ufe of the Admirers ar.d Profclfors of the 
 Art of Painting. 
 
 By the Rev. M. PILKINGfON, A.M. 
 
 VICAR OF DONABATE AND PORTRAINE, IN THE DIOCESE OF DUBLIN. 
 
 A NEW EDITION. 
 
 TO WHICH IS ADDED, 
 
 A SUPPLEMENT: 
 
 CONTAINING 
 
 ANECDOTES OF THE LATEST AND MOST CELEBRATED ARTISTS, 
 INCLUDING SEVERAL BY LORD ORFORD ; 
 ALSO, 
 
 REMARKS ON THE PRESENT STATE OF THE ART OF PAINTING, 
 By JAMES BARRY, E/q. R. A. 
 
 PROFESSOR OF PAINTING TO THE ROYAL ACADEMY. 
 
 ————— Reperire, apta atque reperta docendum 
 Digererc, atque fuo quaque ordine rite locare, 
 
 Durus uterque Labor. Vida, Lib. 2. Poetic. 
 
 Ut plurimis profimus , etiitimur. Cicero. 
 
 LONDON: 
 printed by w. and c. spilsbury, snow-hill, 
 FOR J. WALKER, NO. 44, AND G. G. AND J. ROBINSON, NO. 25, PATE RNOSTER-ROW. 
 
 I798. 
 
DEDICATION. 
 
 equally as remote from any venal consideration, as from 
 fervile or mercenary flattery ; for which reafon, I de- 
 termined to infcribe the following work to you, whofe 
 deferts have juftly recommended you to the patronage of 
 the moft munificent of Kings, to the favour of the Nation 
 in general, and to the particular efteem of, 
 
 Gentlemen, 
 
 Your fincere Well-wifher, 
 
 and humble Servant, 
 
 Dublin, 
 Dec. 2, 1796. 
 
 MATT. PILKINGTON. 
 
THE 
 
 PREFACE. 
 
 An early admiration of the Art of Painting, and an eager inclination to 
 improve myfelf in the knowledge of it, were my inducements to fearch for 
 -inflrudtion, among the writers on that fubject. Thofe writers I foon found 
 to be extremely numerous, and very few of them in our native language ; yet 
 every author I confulted,. infpired me with an impatience to proceed ; and I 
 extracted from each, what appeared to me moft likely to prove either 
 inftruclive or entertaining. 
 
 However, I obferved in moft of thofe authors, a tedious account of the 
 artifts in refpect of their Angularities in public or domeftic life ; their morals, 
 or manner of living ; their families, or the repofitories of their works ; but, 
 I obferved alfo, that the defcription of their particular excellencies or defects 
 in the execution of their art ; in their ftyle of painting ; in their colouring, 
 or pencelling ; were fo blended with other unimportant circumftances, as ren- 
 dered it exceedingly difficult to felect what might prove inftructive. For, 
 the life of each artift appeared encumbered with a load of defcriptions, 
 which could neither improve the tafte or judgment of a lover of the Art, 
 nor fcarcely keep the attention of a judicious inquirer awake. 
 
 Whoever 
 
vi 
 
 PREFACE. 
 
 Whoever has carefully read Vafari, Vanmander, Ridolfi, Sandrart, and 
 fome other writers on the fubject, will, I believe, recollect, that they were 
 compelled to contend with abundance of unimproving and unentertaining 
 narrative, to acquire fuch a degree of information, in regard to any artift, as 
 perhaps they ardently fought after. 
 
 I will not impute the tedioufnefs which I experienced, in the original 
 authors who wrote the lives of the Painters, to any deficiency of judgment 
 or genius ; for, it probably might arife from their folicitude to colled: every 
 incident that could be procured relative to the artifts of whom they wrote. 
 
 However, although fome writers on the fubject appeared too prolix, I 
 experienced in others too much of the concife and fuperficial, in. their account 
 of many of the artifts, and particularly in Sandrart yet, even that defect 
 might have been occafioned by the want of fufficient intelligence and mate- 
 rials, at the periods when they wrote. But, by examining with attention 
 the works of fevcral aui hors, what appeared to be defective in one, was 
 frequently enlarged by another ; fo that it feemed necefTary, from the whole 
 body of the writers on the fubject, to collect the moft material obfervations 
 relative to each particular artift. 
 
 As I had, with fome pains and patience, for" my own private amufement, 
 arid to obtain a more extenfive knowledge of the eminent mafters, made 
 many extracts from authors of the firft rank, who treated of the fubject of 
 Painting in different languages ; it appeared to me probable, that a complete 
 collection of the Lives of the Painters, in our native language, might prove 
 not only an acceptable, but alfo a beneficial prefent to the public. 
 
 For, although it may be juftly fuppofed, that to perfons of high rank and 
 education, all the languages of Europe may be familiar, yet there are num- 
 bers of all ranks and ftations, who may feel the utmoft fondnefs for the 
 imitative arts, and yet be totally unacquainted with feveral of thofe lan- 
 guages, from which the knowledge of the moft memorable artifts can be 
 acquired. 
 
 Beftdes, if we confider how large an expence muft inevitably attend the 
 purchafing of fo great a variety of volumes, as are requifite for a ftudious 
 and inquifitive lover of the art ; the works of fome authors being exceed- 
 ingly fcarce, and the works of others fo pompoufty printed, as to be pur- 
 chafable only by very few; it Ihould feem to be no inconfiderable advantage 
 
 to 
 
PREFACE. 
 
 vii 
 
 to the public, to enable every individual to have an eafy accefs to that know- 
 ledge of the artifts, from which he might have been excluded, either by the 
 want of a competent degree of polite literature, or by the want of a com- 
 petent fortune. 
 
 Thefe have been my motives to undertake the work which is now offered 
 to the public. I have not adhered to any one author, fo as to be either a 
 literal tranflator or tranfcriber ; but have collected what feemed to me moft 
 material from each, and endeavoured, with the utmoft exa&nefs J could 
 exert, to rectify their chronological miftakes ; to illuftrate what appeared 
 obfcure j and to digeft the whole, fo as to be at once inftru&ive and 
 concife. 
 
 How far my beft endeavours have correfponded with my intention, the 
 candour of the public will, I hope, favourably determine. 
 
 I perfuade myfelf, that an endeavour to acquire a tafte for the polite arts ; 
 a defire to obtain a thorough knowledge of them ; and a zeal to diffufe that 
 knowledge more extenfively through thefe kingdoms ; cannot appear an 
 improper employment for the leifure hours of an Ecclefiaftic ; particularly of 
 one who, being wholly unambitious, and pleafed with his profeflion and 
 retirement, has been always more ftudious to improve his mind than his 
 fortune. 
 
 Befides, it cannot but be remembered, that Painting (the moft pleafing 
 among the polite arts) revived, and was principally nurtured, by the tafte 
 and inceffant liberality of Eccleliaftics, till it grew up to its utmoft perfection 
 under Raphael. Moft of the Popes, efpecially Leo X. and Urban VIII. and a 
 number of Cardinals and Archbifhops, were proud of diftinguifhing them- 
 felves as its patrons ; nor were the Monarchs and Princes of thofe times 
 lefs enchanted with the beauties of the Art, nor lefs munificent to its pro- 
 fefTors. Happy times for artifts and men of genius ! when merit was rarely, 
 unnoticed, and more rarely unrewarded. 
 
 Indeed it ought to afford a lingular fatisfaction to the prefent age, to 
 obferve the hand of liberality ftretched forth, to raife up the polite arts 
 in thefe kingdoms, from the torpid ftate in which they have languifhed. 
 
 The countenance afforded to the Art of Painting in particular, by his 
 Majefty, the moft amiable of Monarchs ; the zeal of the Nobility and Gentry 
 of Great-Britain and Ireland, who conftitute the Societies of London and 
 
 4 Dublin ; 
 
viii 
 
 P R E F A C E. 
 
 Dublin ; and the impartial diftribution of rewards to the candidates for 
 fame; muft inevitably fo far animate every artift, as to make him ftudious 
 to arrive at excellence ; till, in fucceeding times, our own natives may be 
 as much the admiration of other kingdoms, as the artifts of Italy have been 
 the admiration of the world. 
 
 No nation has ever been more productive of men of genius than Britain ; 
 and where genius is careffed by the Great, and elevated by Royal munificence 
 and honours, as it is at prefent, what approaches to perfection may we not 
 fanguinely expect from the rifing generation ! 
 
 It were, however, to be wiihed, that our artifts, as well as our nobility 
 and gentry, who either travel abroad for the improvement of their tafte, or 
 infpect the capital collections of paintings in England, could prevail on 
 themfelves to be more accurate in the obfervations they make, while they 
 entertain themfelves by contemplating the works of the celebrated matters ; 
 fc ac not only to be ftrurk with admiration while they behold them, but alfo 
 to penetrate the caufe of fo powerful an effect on the paffions of their 
 minds. 
 
 To fee, and to admire, on fuch an occafion, is not fufficient ; for, even 
 thofe of the meanelt capacity, the illiterate and the unfkilful, can readily 
 arrive at fuch a degree of tafte. But a refined tafte can only be formed, by 
 ft udioufly examining the whole, and every part of a compofttion; by 
 exploring the grandeur of the ideas, the fublimity of the expreffion, the truth 
 and elegance of the defign, the grace diffufed through the objects, the 
 refemblance of nature in the colouring ; and the magic touch of the 
 pencil. 
 
 The true knowledge of the Art of Painting is not fo eafy an acquifition, 
 as too frequently it is accounted ; nor are all thofe who can plaufibly defcant 
 on the perfections and defects of a piece of painting, to be confidered as folid 
 or profound judges of the intrinfic merit of a performance. 
 
 As Painting is the reprefentation of nature, every fpectator, whether judicious 
 or otherwife, will derive a certain degree of pleafure from feeing nature happily 
 and beautifully imitated ; but, where tafte and judgment are combined in a 
 fpectator who examines a defign conceived by the genius of a Raphael, and 
 touched into life by his hand, fuch a fpectator feels a fuperior, an enthu- 
 fiaftic, a fublime pleafure, whilft he minutely traces the merits of the work; 
 
 and 
 
PREFACE. 
 
 ix 
 
 and the eye of fuch a connoifleur wanders from beauty to beauty, till he feels 
 himfelf rifing gradually from admiration to ecftafy. 
 
 To acquire a well-founded tafte for painting, there are many elTential 
 requifltes, without which it is fcarce poflible to difcern the real perfections 
 of a performance. 
 
 One requifite is, to be familiarly converfant with hiftory, particularly the 
 facred, from which many of the fubjects that animated the pencils of 
 Raphael, and the beft artifts, were compofed. It may indeed appear lingular, 
 that a ftudious perufal of the Bible ftiould be recommended to any perfons 
 of tafte, who ought to be fuppofed to have had an early acquaintance 
 with that book in the courfe of their education. Yet it cannot but be 
 obvious to every one, that (to the difgrace of modern politenefs) the facred 
 volume is rather held in contempt by many of the great ones of this age ; 
 becaufe that purity of morals which it demands, is incompatible with the 
 vices which they practice. However, if gentlemen, even in purfuit of their 
 favourite art, could find an inducement to read it, they might perhaps at the 
 fame time imbibe a knowledge of a fuperior kind to what they fought, and 
 perceive that, among all their accomplilhments, they wanted a principal 
 one, that of Religion. 
 
 I have been led into this remark, by an incident which not long fmce 
 happened at a public fale of pictures, where a few profeffed connoifleurs 
 were bufily examining the Paintings, and were very loudly profufe of their 
 obfervations. Two pieces of Scripture Hiftory, extremely well executed, 
 attracted their particular attention ; one defcribed St. Peter's payment of 
 the tribute-money, the other, his walking on the water. No commendation 
 of the Paintings was fpared by the connoifleurs ; but, after confulting with 
 each other what the fubjects might be, and none of them being able to 
 determine that point, one of them openly declared, that if they knew but the 
 hiftory, the pictures would appear excellent. Yet thofe gentlemen were 
 perfons of confiderable fortune, and well bred ; and had not their ignorance 
 of the facred hiftory fo fliamefully diftionoured their education, and 
 expofed their infidelity, none, but their intimates, would have fufpected them 
 to be totally unacquainted with religion. 
 
 Another requifite is, the ftudy of profane hiftory, particularly that of 
 Greece and Rome ; and of Italy alfo, from the declenfion of the Roman 
 
 B empire. 
 
X 
 
 PREFACE. 
 
 empire. By fuch a courfe of ftudy, an admirer of Painting may qualify 
 himfelf to fix on the particular action reprefented by any artift, even at the 
 firft view (fuppoflng that action to be defcribed in a fuitable and mafterly 
 manner), and be enabled to judge whether the Paflion and Expreflion be 
 jull ; whether the Coftume be properly obferved ; whether the Characters, 
 are marked agreeably to hiftorical truth ; and the Incidents judicioufly 
 introduced. 
 
 Another requifke is, to have a competent fkill in Drawing, and a know- 
 ledge of Anatomy ; that the connoiffeur may form a fteady judgment of 
 the fwell or the deprefiion of the mufcles in different actions and attitudes,, 
 of the true proportion of the limbs and extremities of the figures, of the 
 elegance of the contours ; and whether the figures appear juftly balanced* 
 in whatfoever attitude they are placed ; fo that he will readily difcern, where 
 the artift has happily fucceeded in his imitation of nature, and in what refpect 
 his execution is defective. 
 
 Another requiiite is, to have ftudied Nature, fo as to have impreffed on 
 the memory, beautiful and exact images of every object that can enter into 
 a compofition ; and to have accuftomed the eye to diftinguifti what is grace- 
 fully natural, not only in the human form, but in trees, rocks, rivers, animals, 
 as well as thofe momentary incidents of light, which agreeably diverfify the 
 face of nature. 
 
 Another requifite (and that not the leajft difficult) is, the ftudy of the 
 Works of the moft famous Artifts ; to obferve them with fo piercing an 
 attention, as to difcover their manner of pencilling, the force or the delicacy 
 of their touch, as well as their ftyle of invention or compofition ; for, every 
 eminent artift has his peculiarities in compofition, expreflion, and defign, as 
 well as colouring, which, when critically noticed, will diftinguifti him from 
 others, whether they be his equals, or his fuperiors in merit. 
 
 It is only by a frequent and ftudious infpection into the excellencies of the 
 artifts of the firft rank, that a true tafte can be eftabliftied ; for, by being 
 attentively converfant with the elevated ideas of others, our own ideas 
 imperceptibly become refined. We gradually feel a difguft at what is mean 
 or vulgar ; and learn to admire what only is juftly intitled to our com- 
 mendation. It is fcarcely poftible that a judicious reader, who has 
 improvingly ftudied the beaulies of Milton, Shakefpear, and the beft writers, 
 
 4 can 
 
PREFACE. 
 
 can defcend to be delighted with compofitions that are comparatively- 
 indifferent, although fuch compofitions may have, in particular parts, a cer- 
 tain degree of merit. A polifhed pebble may be efteemed as a diamond, by 
 one who has never fufficiently attended to the native luftre of that gem; but a 
 critical eye will readily determine between the glitter of the one and the lovely 
 vivid beam of the other. Till, therefore, a lover of the Art of Painting 
 arrives at fuch a degree of judgment and tafte, as renders him incapable of 
 being pleafed with what is indifferent, he may conclude that his tafte and 
 judgment are ftill but imperfect. 
 
 Befides, by being familiarly converfant with the works of the beft mailers, 
 not only the tafte of an admirer of the art will be effectually eftabliftred, but 
 his judgment will proportionably be enlarged and confirmed. He will 
 learn, fteadily to diftinguifh the ideas peculiar to each mafter, whether in 
 refpect of the invention, or the difpofition ; he will be inftructed to know 
 one mafter, by the airs of the head or the attitudes ; another, by the dignity 
 or grace of his figures ; another, by a remarkable mufcular ftrength ; and 
 others, by their elegance, limplicity, or aftonifhing management of the 
 chiaro-fcuro. 
 
 By examining the colouring and the penciling of different artifts, who 
 were excellent, he will difcover what conftitutes the manner peculiar to each, 
 and qualify himfelf to judge with precifion. He will perceive, that almoft 
 every artift is remarkable for fome one predominant tint of colouring ; he 
 will obferve, that in fome the yellow predominates, in others the brown, 
 the violet, and the green. In fome the black, as in Caravaggio, SpagnolettOj 
 Manfredi, and Valentino ; in fome a palenefs, as in Vouet, and Nicolo 
 Pouflin ; the purple, in the Baffans ; and in Teniers, the grey. And by 
 a nice obfervation of thefe particulars, confirmed by a competent fkill in 
 the ftyle of each mafter's compofition, a judicious perfon will, without 
 much difficulty, qualify himfelf to judge with accuracy of the hands, as 
 well as of the merits of the different mafters. 
 
 But I perceive myfelf extending this Preface beyond its proper bounds. 
 I am confeious that the fubject of which I have been treating, deferves the 
 attention of the polite and the ingenious j but I am alfo confeious of my 
 own inability to treat of it as it deferves. Britain, I am confident, poffeffes 
 many of her own natives, who have the proper combination of fkill, genius, 
 
 B 2 and 
 
xii 
 
 PREFACE. 
 
 and judgment, equal to fuch an undertaking ; and my earnefl. wilh is, to fee 
 it executed, to the nation's and the author's honour. 
 
 For fome years I waited, in expectation that an author fo qualified would 
 have fchemed fuch a work as this which I prefent to the public j but, as 
 men of fuperior abilities have either declined, or never thought of fuch a 
 performance, the talk has devolved upon one whofe talents may indeed 
 juftly be accounted unequal to the undertaking, but whofe zeal for the 
 improving of others is ardent. He therefore ventures to rely on the 
 accuftomed candour of men of real genius ; and confides, that the goodnefa 
 of his intention will be admitted as fome apology for any errors Q£ 
 imperfedions difcernible in the execution of the work. 
 
 T HE 
 
THE 
 
 GENTLEMAN'S and CONNOISSEUR'S 
 
 DICTIONARY 
 
 or 
 
 PAINTERS. 
 
 A B A ABB: 
 Andrea ABATE. 
 
 Painted Fruit, and Still Life- 
 died 1732. 
 
 Th IS mafter was a Neapolitan, who excelled in painting inanimate objects. His 
 colouring was bold; he gave a noble relief to the vafes and other ornaments, with 
 which he enriched his defign j and grouped all his objects with peculiar judgment and 
 care. 
 
 He was employed by the King of Spain, at the Efcurial, along with Luca Giordano? 
 and that eminent artift was very liberal in commending the works of Abate: he efteemed. 
 him highly, and always allowed him that juft praife which his compofitions univerfally 
 merited. 
 
 ABB ATE. Vid. Nicoeo... 
 
 Filippo ABB I AT L. 
 Painted Hi/lory. 
 
 DIED I715, AGED 75.; 
 
 He was born at Milan, in 1640, became the difciple of Nouvolone, and appeared, 
 very eminent in his profeflion. His invention was ready and fertile ; and he was 
 extremely, correct in his defign. He diftinguiflied himfelf by an uncommon freedom . 
 
 of. 
 
ACH [ 2 ] ACH 
 
 of hand, and a light touch; and by thofe accomplifhments became remarkably 
 expeditious in his execution, and painted with an equal degree of beauty, in fxefco, 
 and in oil. 
 
 John Van * ACH, or ACHEN. - 
 
 Painted Hijiory and Portrait. 
 
 DIED l62l, AGED 65. 
 
 He was born at Cologne, 1556, and at firft was a difciple of a portrait-painter called 
 Jerrigh, under whofe direction he continued for fix years j but afterwards he improved 
 himfelf confiderably, by ftudying and copying the works of Sprangher. 
 
 When he had acquired a fumcient rcadinefs of hand, by a diligent practice in his 
 own country, he travelled to Venice, and there ftudied after the works of the moll 
 diftinguiflied mafters, in order to obtain a more extenfive knowledge of colouring; 
 and with equal afliduity he applied himfelf for fome years at Rome, to perfect his tafte, 
 and eftablifh himfelf in correctnefs of defign. 
 
 His merit foon made him known in that city, where he painted a Nativity for the 
 church of the Jefuits, and alfo a portrait of Madona Venufta, a celebrated performer on 
 the lute, which is accounted one of his belt performances. 
 
 The moft judicious writers on the fubject of painting allow that his colouring is 
 extremely good, his defign correct, and that the airs of his heads have a great deal of 
 the tafte of Correggio. 
 
 His talents, and polite accomplifhments, recommended him to feveral of the greateft 
 Princes of Europe, and particularly to the Court of Bavaria, and the Emperor Rodolph: 
 by the former, he was employed to paint the portraits of the Electoral family, in one 
 piece, the figures being as large as life ; and alfo a grand defign of the Invention of the 
 Crofs, by Helena the mother of Conftantine ; which is highly commended for the 
 elegance of the compofition, the correctnefs of the defign, the graceful airs of the heads, 
 and the attitudes of his figures. * 
 
 Thefe 
 
 * John Van Ach, and John D'Ach, though defcribed by Mr. Defcamps, as two different painters, feem to be but 
 one and the fame perlbn, 
 
 Houbraken mentions John Van Ach, as likewife do other writers, with many of the circumftances afcribed to both. 
 And Defcamps defcribes J. Van Achen (vol. I, page 2J9) as being born in 1556, at Cologne; yet, at page 251, he 
 defcribes John D'Ach alfo as born in the fame year, at the fame place, travelling to Italy, being careffed by the fame 
 Emperor, and both painters dying at Vienna j although, inconteftably, the account can only agree with one perfon, 
 John Van Ach, or Achen. ' 
 
 The fame error Mr. Defcamps is guilty of in regard to Roger of Bruges, who in vol. 1, page 7, is mentioned as a 
 correft defigner, and one who painted in a graceful manner; and yet, in page 33 of the fame volume, he defcribes 
 Roger Vander Weyde in a different way, and particularizes his works, as if he had been really a different artilt : 
 whereas the facl is, that the name of that mafter was Roger Vander Weyde, and he was diftinguiihed by the name of 
 Roger of Bruges, from his native city, where he principally followed his profeffion. Vid. Weyde. 
 
ADR 
 
 r 3 ] 
 
 AEL 
 
 Thofe performances eftabliflied his reputation effectually ; the Elector liberally 
 rewarded him for his work, and as a peculiar mark of his efteem prefented him with 
 a chain and medal of gold. 
 
 By the Emperor he was invited to Prague, where he executed feveral noble com- 
 positions, and particularly a picture of Venus and Adonis, fo much to the Satisfaction 
 of that monarch, that he engaged Van Ach in his fervice as long as he lived ; and not 
 only gave him conftant employment for his pencil, but appointed him to go to Rome, in 
 order to defign the moft celebrated antiques in that city; and, at his return, his work 
 was received with general approbation. 
 
 His own compofitions were very much prized by the ableft judges, and he had the 
 character of being one of the beft matters of his time. 
 
 Alexander ADRIANSEN. 
 Painted Fruity Flowers, Fijb, and Still Life. 
 
 DIED AGED 
 
 This painter was born at Antwerp, about the year 1625 ; but, very few particulars 
 relative to his life have been tranfmitted by any writers on this fubject. 
 
 It is only obferved, that he was an extraordinary good painter of fruit, flowers, 
 vafes of marble, and the ornamental baffo-relievo's, with which they are often decorated; 
 and fome of thofe vafes he reprefented as being filled with flowers, or otherwife 
 embellifhed with feftoons, in an elegant tafte. 
 
 This mafter alfo painted fifli admirably, giving them all the truth, frefhnefs, and 
 character of nature. All his objects are extremely well coloured, with an agreeable 
 effect from the judicious management of the Chiaro-Scuro, and with a remarkable 
 tranfparence. 
 
 Evert Van AELST. 
 Painted Fruit, Still Life, and Dead Game. 
 
 DIED 1658, AGED 56. 
 
 He was born at Delft, in 1602, and acquired a great reputation by his delicate 
 manner of painting thofe objects, which he chofe for the Subjects of his pictures. 
 
 He was exact in copying every thing after nature ; he difpofed them with elegance ; 
 and finifhed his pictures with neatnefs, and tranfparence of colour.. Whether he 
 painted dead game, fruit, armour, helmets with plumes of feathers, or vafes of gold 
 and filver, to each he gave a true and Striking refemblance of nature, and an extra- 
 ordinary luftre to the gold, filver, and fteel. 
 
 William 
 
A E L 
 
 C 4 3 
 
 A E R 
 
 William Van AELST, called in Italy Gulielmo. 
 
 Painted Still Life. 
 died 1679, aged 59. 
 
 He was the nephew and difciple of Evert Van Aelft, born at Delft in 1620, and 
 arrived at a much higher degree of perfection than even his inftruclor. His pencil 
 was fo light, and his touch fo delicate, that the objects he painted feemed real. 
 
 He followed his profeffion in France, for four years j and for feven, in Italy; having 
 conftantly received every token of refpect and efteem from the principal noblemen 
 of each country in which he refided. In the year 1656 he returned to his native city 
 Delft j but, foon after, fettled at Amfterdam, finding there an encouragement equal to 
 his utmoft defire ; his works being admired, coveted, and fold for a large price. 
 
 When he vifited Florence, he was employed by the Grand Duke, who mewed him 
 many inftances of his favour, and honoured him with a gold chain and a medal, as a 
 public acknowledgment of his merit. 
 
 Peter AERTSEN. 
 
 -Painted Hi/lory, Kitchens, and Culinary Utenfils. 
 
 DIED 1575, AGED 56. 
 
 He was born at Amfterdam, in 1519, and was the difciple of Alaert Claeffen, a 
 painter who was well efteemed for portrait. 
 
 He had always a bold and ftrong manner, peculiar to himfelf, to which he principally 
 owed his reputation ; and even at the age of eighteen he was accounted a good 
 mafter, having received great improvement, by ftudying and copying feveral capital 
 paintings in the cabinet of Boflu, in Hainault. 
 
 His fubje&s, at firft, were kitchens and their utenfils, which he executed with fuch 
 nature and truth, as to deceive the eye agreeably j nor could his colouring be excelled 
 by any mafter. 
 
 It femed not a little furprifing, that he was able to compofe and colour- hiftorical 
 fubjects of a fuperior ftyle fo excellently as he very often did, when one confiders the 
 lownefs of thofe fubjedts which, he was generally accuftomed to paint. 
 
 At Amfterdam there is an Altar-piece, reprefenting the death of the Virgin, by 
 this mafter, in which appears a good defign, and a tone of colour that is warm and 
 true. The draperies are fo judicioufly caft, as to difcover the pofition and turn of all 
 the limbs j nor does any thing of the kitchen-painter fhew itfelf, in any part of the 
 compofition. And at Delft he painted a Nativity, and the Wife Men offering, which 
 are accounted very excellent performances. 
 
 c His 
 
AGR 
 
 t 5 J 
 
 ALB 
 
 His genius was beft adapted to grand compofitions ; he was well (killed in perfpective 
 and architecture, and he enriched his grounds with elegant ornaments and animals. 
 His figures were well difpofed; their attitudes had abundance of variety, and their 
 draperies were well chofen, and well caft. 
 
 Livio AGRESTI, da F u r l i- 
 
 Painted Hi/lory. 
 
 DIED I580, AGED 
 
 This mafter was a difciple of Pierino del Vaga, and is commended by Vafari, for 
 the richnefs of his invention, the goodnefs of his colouring, and the correctnefs of 
 ftis defign. 
 
 Many of the works of this great artift in frefco, and in oil, are in the Vatican, 
 where he was employed by Gregory XIII ; and there are alfo in Rome feveral noble 
 altar-pieces of his hand. 
 
 Francesco ALBANO. 
 Painted Hijiory and Landscape. 
 
 DIED 1660, AGED 82. 
 
 He was born at Bologna, in 1578, and at firft ftudied in the fchool of Dennis 
 Oalvart, at the time when Guido was the difciple of that mafter ; and as Guido had 
 already made fome progrefs in the knowledge of the art, being older than Francefco, 
 he in a friendly manner affifted him while he was learning to defign. However, 
 they both foon quitted Calvart, and Albano placed himfelf under the direction of the 
 Caracci; but he afterwards completed his ftudies at Rome, working after the fineft 
 models; and became one of the moft agreeable painters of the Roman fchool. 
 
 He had a delicate tafte of the lovely and the graceful, in his boys, and female 
 forms; but his figures of the other fex were ufually lean, and without mafculine 
 beauty, except in fome of his heads. He underftood defign well ; his colouring 
 Frefh, his carnations of a fanguine tint; and he finiihed highly with great neatnefs 
 of pencil. As for the Chiaro-Scuro, and union of colours, De Piles obferves, that 
 though he did not know them to be principles of his art, yet good fenfe v or chance, 
 fometimes directed him to the ufe of them. 
 
 For the moft: part he painted in a fmall fize, and chofe his fubjects from poetic 
 or fabulous hiftory; but was fond of introducing Cupids, in a variety of actions 
 and attitudes. It is objected againft him, that he was apt to preferve too great a 
 fimilitude in his figures, and in the airs of his heads; but that particularity was 
 occafioned by his painting after the fame models, his wife and his children; though 
 it mull be confeffed, that they were beautiful and graceful models. However, by 
 
 C that 
 
ALB 
 
 [ 6 ] 
 
 ALB 
 
 that means, the manner of Albano may more eafily be difcerned than that of any 
 other mafter. 
 
 The ftyle of his landfcape is very agreeable; it is defigned in a good tafte, and 
 well adapted to his fubjects: and for many of his fcenes, as well as the forms of 
 his trees, he was indebted to nature, after which he always ftudied. Yet, it ought 
 to be remembered, that all the pictures of Albano have not the fame for€e of colour j 
 fome of them being much weaker than others, though ft 111 pleating, and delicate. 
 
 In the palace of the King of Sardinia, at Turin, are the Four Elements, painted by 
 Albano, each of them about four feet fquare. Thofe pictures are of an extraor- 
 dinary beauty, and well preferved. The defign is excellent, the draperies perfectly 
 elegant, the colouring lovely, and the whole very correct. The compofition is, per- 
 haps, a little too diflipated; but that is a circumftance frequently obferved in the 
 works of Albano. 
 
 Giovanni Battista ALBANO. 
 Painted Hijiory and Landfcape* 
 DIED l668, AGED 
 
 He was the brother and difciple of Francefco, and became an admirable painter, 
 in the ftyle, manner, and colouring of his brother. He likewife excelled in landfcape, 
 which he defigned in an exquifite tafte, touching the trees with abundance of fpirit, 
 and giving them a great fweetnefs of colour. 
 
 Cherubino ALBERTI. 
 Painted Hijiory. 
 DIED 1615, AGED 63. 
 
 The nobleft works of this eminent artift are in frefco, at Rome; but there are 
 alfo paintings in oil by his hand, which are extremely admired, and allowed, by the 
 beft judges, to have a judicious difpofition, a lively and beautiful colouring, and a 
 fine expreflion. His merit likewife as an engraver is very confiderable ; and he 
 eftablifhed a lafting reputation, by his prints after Polidoro, Zucchero, and Michael 
 Angelo Buonaroti. 
 
 Giovanni ALBERTI. 
 
 Painted Perfpeclive and Hijiory. 
 
 DIED l601, AGED 43. 
 
 He was the brother of Cherubino, born near Florence in 1558, and received his 
 early inftruction from Alberto Alberti, his father i but afterwards he went to Rome, 
 
 where 
 
A L D 
 
 C 7 3 
 
 ALE 
 
 where he ftudied geometry, and alfo the works of Buonaroti, and other great mailers. 
 He devoted his principal attention to perfpective, in which branch of his profeffion 
 he arrived at the utmoft eminence ; and gave a demonftrative proof of his great abilities, 
 in one of the Pope's palaces, having painted a defign in that ftyle, which procured 
 him univerfal admiration and applaufe. 
 
 The prime Nobility at Rome were folicitous to employ him, and he worked in 
 many of the chapels and convents, with general approbation; for he recommended 
 himfelf to all perfons of tafte, by the elegance of his compofition, by the firmnefs 
 and delicacy of his pencil, by the grandeur of his thoughts, by the judicious diftribution 
 of the parts, and by the fpirit vifible through the whole. 
 
 Albert ALDEGRAEF. 
 Painted Hijiory. 
 DIED AGED 
 
 He was a very confiderable painter, born at Zouft, in Weftphalia; the principal 
 part of whofe works are in the churches and convents of Germany. De Piles men- 
 tions a Nativity by this mafter, which he accounts worthy of the admiration of the 
 curious. 
 
 His defign was correct, and his expreflion tolerably good, allowing for the gufto 
 of his country; but his draperies were in a bad tafte, and his manner is readily 
 diftinguifhed, by the multiplicity of the folds, which are not without a degree of hardnefs. 
 He feemed to want nothing to render him eminent in his profeffion, but a better 
 knowledge of the antique, and a greater intimacy with the Roman mafters. 
 
 He was alfo a confiderable engraver; and, in the latter part of his time, employed 
 himfelf more in engraving than in painting. 
 
 John Van ALEN, or Oolen. 
 
 Painted Fowls^ Land/cape, and Still Life* 
 
 DIED 1698, AGED 47. 
 
 This artift was born at Amfterdam, in 1651, and fpent the greateft part of his 
 life in that city. He had no ready talent for invention ; but he had a moft uncommon 
 power of the pencil, and an extraordinary imitative genius. 
 
 In the touch, and the peculiar tints of colour, he could mimick the work of any 
 mafter, in any ftyle; but, obferving that the works of Melchior Hondekoeter were 
 in the higheft requeft, he applied himfelf particularly to imitate and copy his works. 
 This he performed with a furprifing exa&nefs, and to fuch a degree, that the moft 
 fagacious among the connoifleurs were puzzled to determine, whether a picture painted 
 by Van Alen was not really of the hand of Hondekoeter. By that practice he 
 
 C 2 gained 
 
A J, Z 
 
 f 8 J 
 
 ALL 
 
 gained much money, and more reputation $ and it is by this means fo many pictures- 
 called Hondelcoeter's are fo frequently met with in private collections, and public 
 fales; which, though they are often reputed originals, perhaps are no other than imi- 
 tations bv this mafter, if not by fome inferior pencil. 
 
 Antonio ALIENSE. Vid. Vassilacchi. 
 
 B A LDASSARE ALLOISI, Called G A L A N I N O- 
 
 Painted Hijiory and Portrait* 
 
 DIED 1638, AGED 60. 
 
 This artift received his education in the celebrated fchool of the Caracci, and in all his 
 eompofitions retained the admirable ftyle of his mafter : he had naturally a melancholy 
 turn of mind, and was of a retired and folitary difpoiltionj which caufed him to avoid 
 the converfation of his friends, and devote himfelf to the ftudy of his art. 
 
 But, by that conduct, he rendered himfelf fo neceffitous, that he was compelled: to 
 paint portraits, to- procure a fubfiftence. However, in this branch of painting his 
 fuccefs was aftonifhing, and he grew into the higheft efteem, not only for the 
 refemblance vifible at the firft fight, and the beauty of his colouring, but alfo for a 
 new and unufual boldnefs of manner, by which his portraits feemed abfolutely to- 
 breathe. 
 
 None of his cotemporaries could enter into competition with him; and the Italian, 
 writers place him in the fame rank of merit with Vandyck. He was born at 
 Bologna in 1578. 
 
 AJcLEssandro A L L O R I, called Br on zi no. 
 Painted Hijiory and Portrait. 
 
 DIED 1607, AGED 72.. 
 
 He was born at Florence, in 1535, and was the difciple of Agnolo Bronzino, a 
 diftinguifhed painter, who educated him with all the tendernefs of a parent j Allori 
 having been deprived of his own father, when he was but five years old. He was 
 verv ftudious, and applied himfelf diligently, not only to imitate the manner of his 
 mafter, but the different manners of thofe mafters who were in the greateft reputation. 
 
 When he commenced painter, his firft work was a Crucifixion, intended for an 
 altar-piece i in which he introduced abundance of figures, extremely well grouped 
 and difpofed, beautifully coloured and with good exprefiion. But, being much folicited. 
 by feveral of the Nobility to paint their portraits, he received deferved applaufe for 
 every performance in that way, and by that fuccefs was induced to appropriate a great 
 deal of his time to that branch of his profefiion.. 
 
 Michael. 
 
ALL 
 
 C 9 1 
 
 A M B 
 
 Michael Angelo Buonarott was the mafter whofe works he ftudied with the greater! 
 attention and pleafure; and he defigned a picture of the Laft Judgment, after the 
 manner of that great genius, which is ftill prefervecl at Rome, and will perpetuate the 
 honour of Allori. 
 
 Christofano ALLORI, called Bronzino. 
 Painted HIJlory and Portrait. 
 
 DIED l62I, AGED 44. 
 
 He was born at Florence in 1577, tne ^ on anc ^ difciple of AlefTandro Allori; and, 
 for fome time, he followed the manner of that, mafter; but afterwards ftudying 
 defign from the works of Santi di Titi, and colouring from the lively and elegant 
 tints of Cigoli, he formed to himfelf a manner entirely different from that of Alef- 
 fandro. 
 
 He executed feveral large deiigns for altars; yet, he had a particular excellence 
 in painting fmall pictures, in which he introduced a number of minute figures, fo 
 exquifite for correctnefs of drawing, fo round and relieved by the colouring, and 
 touched with fo much delicacy, that it feemed furprifing how either the hand or 
 the eye could execute them. 
 
 He likewife painted portraits, as large as life, with abundance of nature and truth, 
 which were exceedingly valued, not only for the happinefs of the expreflion, but 
 for giving every fubject that attitude which feemed molt proper and moft becoming. 
 
 Christopher AMBERGER. 
 Painted Portrait and Hi/lory. 
 
 DIED 1550, AGED 
 
 This painter was born and lived at Nuremberg, where the moft capital of his. 
 paintings are preferved, and held in high eftimation. He was a difciple of Hans 
 Holbein, and his works are frequently taken for the works of his mafter. His 
 invention was ingenious, his defign good, and his colouring very like that of Hol- 
 bein; but he alfo refembled him equally in his tafte, and in his idea of the graceful. 
 
 He acquired great reputation by a compofition of the hiftory of Jofeph, which he 
 defcribed in twelve pictures; and likewife by the portrait of the Emperor Charles V. 
 which that monarch (according to the teftimony of Sandrart) accounted equal to any 
 of the portraits of him painted by Titian: and to exprefs his fingular approbation 
 of that perfo --nance, he not only paid the artift three times as much as he expected, 
 with a liberality truly royal, but he honoured him alfo with a rich chain of gold, 
 and a medal. 
 
 Octaviq 
 
AMI 
 
 C io ] 
 
 A N G 
 
 Octavio AMIGONI. 
 
 Painted Hijiory and Portrait. 
 DIED l66l, AGED 56. 
 
 He was born at Brefcia, in 1605, and was a difciple of Antonio Gandino. In 
 feveral parts of Italy he was much applauded, for fome noble compofitions ; in which 
 his exprefiion, and his tafte of defign, were very remarkable, and very elegant; more 
 of thofe compofitions being executed with a free, firm, and mafterly touch, and with 
 figures as large as life. 
 
 Jacopo AMICONL 
 
 Painted Hijiory and Grotefque. 
 DIED AGED 
 
 Though the compofitions of this mailer are well known in thefe kingdoms, many 
 of his pictures being admitted into the collections of the firft nobility; yet, few par- 
 ticulars relative to his life have been afcertained. It is fuppofed by many, that he 
 was born at Venice, or in the territory belonging to that republic; that he ftudied 
 the art of painting for fome years at Venice; and afterwards completed himfelf in 
 his profeflion at Rome. 
 
 ? The livelinefs of *his imagination, the readinefs of his invention, and the freedom 
 of his hand, foon recommended him to the public efteem; and he readily found encou- 
 ragement and employment in moft of the Courts of Europe. He poflefled a very 
 fertile invention; his tafte of defign was confiderably elegant; and the air and turn 
 of fome of his figures, in his beft compofitions, were allowed to have fomewhat 
 engaging, natural, and even graceful. He confefledly had many of the accomplishments 
 of a good painter; but although his merit muft in many refpects be allowed, and 
 his drawing, in particular, generally correct, yet his colouring is abundantly too 
 cold, too pale, and (as it is termed by the artifts) too mealy. 
 
 Giovanni ANGELICO da Fiesole. 
 
 Painted Hijiory. 
 
 DIED 1455, AGED 68. 
 
 He was born at Fiefole, in 1387, and was placed as a <3ifciple with Giottino; 
 though he afterwards became a Dominican Friar, and in that ftation was as much 
 (if not more) refpe&ed for his piety, as for his painting. Nicholas V. employed 
 him in his chapel, to paint hiftorical fubjecls in large, and prevailed on him foon 
 after, to decorate feveral books with paintings in miniature, which were well defigned 
 and neatly handled. 
 
 Indeed, 
 
A N G 
 
 t » ] 
 
 A N G 
 
 Indeed, even in his beft pictures there were faults, and fome of them very grofs; 
 which leffen the praife that otherwife they might have deferved : yet he had fkill 
 to direct younger artifts, and his obliging temper procured him many difciples. 
 
 He always painted religious fubjects, and was fo remarkably humble, that he refufed 
 to accept of the archbifhoprick of Florence. 
 
 Michael ANGELO Buonaroti. 
 
 Painted Hiftory. 
 
 DIED I564, AGED 9O. 
 
 This memorable artift, the fon of Ludovico Buonaroti Simoni, was born at the 
 caftle of Chiufi, in the territory of Arezzo in Tufcany, in 1474, and feht to Flo- 
 rence for his education, being intended by his father for a literary profeffionj but 
 his natural genius impelling him to fculpture and painting, in oppofition to every 
 remonftrance of his parents, at the age of fourteen he became the difciple of Domenico 
 Ghirlandaio; a matter whofe reputation was more promoted, by the number of admirable 
 artifts produced in his fchool, than by any of his own performances. 
 
 In a fliort time, Michael Angelo proved far fuperior to his inftructor; and feeing 
 a defign of a female figure, which Ghirlandaio had drawn for the ufe of fome of 
 his pupils, he marked its defects, and corrected them with a bold free ftroke, to the 
 furprife of his mafter, and of all who faw it ; and that drawing was afterwards in 
 the pofleflion of Vafari. 
 
 Nor was his genius to fculpture lefs extraordinary j for he gave fuch early proofs' 
 of excellence in that way, that he was confidered by all who law his work, as a 
 prodigy for his years. Lorenzo de Medici obferved his uncommon merit, and took 
 him into his fervice, being intent at that time on founding an academy at Florence 
 for painting and fculpture; and for that Prince he executed feveral noble works, par- 
 ticularly in ftatuary, which procured him univerfal applaufe. 
 
 By the death of his patron in a few years after, and by the difturbances which 
 happened at Florence, he was for fome time compelled to fly from that city; but 
 at his return he finiflied that incomparable figure of David with his fling, out of a 
 large block of marble, which is accounted one of the mafter-pieces of his hand, and 
 worthy of the hand of an antique artift. Sandrart fays, that Pietro Soderini, the 
 purchafer of that ftatue, having injudicioufly remarked, that he thought the nofe of 
 the ftatue too large, although it was really in a true and delicate proportion; 
 Michael Angelo, to pleafe him, feemed to affent to the obfervation ; and taking fome 
 marble powder in his hand along with the chifel, he feemed to work on that part, 
 dropping gradually fome of the powder as he proceeded; and the deception fo far 
 anfwered, that Soderini in rapture acknowledged thofe laft touches had given life to 
 the ftatue. 
 
 Though 
 
A N G 
 
 [ 12 ] 
 
 A N G 
 
 Though this great mafter excelled in fculpture, architecture, and painting, yet his 
 grcateft excellence is in fculpture. He undoubtedly was the firft painter who taught 
 the artifts of Italy the tafte of what was grand and elevated ; and .enabled them, 
 more than any of his predeceflbrs, to forfake the dry, ftiff manner of Perugino and 
 others. And although he cannot be commended for his colouring, yet if we confider 
 the grandeur, the elevation, and frequently the fublimity of his ideas, the noble tafte 
 of his defign, and the juftnefs of fome of his expreffions, it may readily be conceived 
 why his fame is fo univerfally eftablifhed, notwithftanding the many imperfections 
 that might be imputed to him as a painter. 
 
 His genius was very extenfive, and he acquired a grand gufto of defign; though 
 he wanted elegance in the contours of his figures, and purity of outline. His colouring 
 is ftrong, but his carnations partake too much of the brick-colour, and his fhadows 
 are generally too black. His attitudes are not always beautiful, or pleafing; and 
 he was (as Frefnoy obferves) bold, even to raflinefs, in which he often fucceeded. 
 
 His works always furprife the beholder with the appearance of fomewhat unufually 
 great, though they may not always afford pleafure. 
 
 As he had ftudied anatomy with the utmoft application, it qualified him to fhew 
 every iinib and joint oT the human body, and ilie infertion as well ihc power 
 of every mufcle, with great precifion; but, by that extraordinary anatomical fkill, he 
 was apt to give too great a ftrength and fwell to the mufcular parts: and yet, even 
 Raphael himfelf (as moft writers affirm) derived confiderable improvement from 
 obferving the grand ideas of Buonaroti, though he far excelled him in elegant fimplicity, 
 in grace, and in nature. 
 
 The moft capital performances of this extraordinary genius, are the Crucifixion, 
 which is always mentioned in terms of admiration ; and the Laft Judgment, which 
 is the ornament of the chapel of Sixtus IV. in the Vatican. The fable relative to 
 the former, that Michael Angelo ftabbed the porter who had been his model, is now 
 univerfally exploded ; but the compofition, expreffion, and defign, are an honour to 
 that eminent mafter. 
 
 The picture of the Laft Judgment employed him for eight years; and in that 
 celebrated compofition, a multitude of figures prefent themfelves to the view, won- 
 derfully invented, and grouped with great judgment; every mufcle and limb being 
 diftinctly and curioufly marked, as the figures were reprefented entirely naked. That 
 circumftance of fo many nudities, . occafioned the obfervation made by Biagio of 
 Cefenna, the Pope's mafter of the ceremonies, that fuch an exhibition of naked figures 
 was more fuitable to a brothel than a chapel. But Michael Angelo revenged himfelf 
 fufficiently on Biagio for that farcafm; for he painted his portrait exceedingly like, and 
 reprefented him as a demon, with afs's ears, encircled with a large ferpent, and placed 
 him in hell. The Pope indeed frequently folicited Buonaroti to deliver his mafter of the 
 xeremonies from that place of torments but he excufed himfelf, by obferving to the 
 
 Pope, 
 
 * 
 
A N G 
 
 C 13 3 
 
 A N G 
 
 Pope, that, had he been only in Purgatory, he might have been releafed, but from Heli 
 there was no redemption. 
 
 Undoubtedly the defign is in a grand tafte, and the ideas in every part of the 
 compofition are very elevated; the eye is aftonifhed at the number, the variety, and 
 the uncommon attitudes of the figures; and the whole appears grand, though terrible. 
 In that performance he ftudied to arrive at the highefl perfection, and to convey to 
 pofterity a proof of his fuperior abilities. 
 
 A late judicious traveller, having viewed that famous compofition with a moft 
 critical attention, and proportionable admiration, fays, that while he flood before it 
 his blood was chilled, and he felt as if all he faw was real ; and the very found of 
 the painted trumpet feemed to pierce his ears. 
 
 And yet, though the compofition is fo grand, it is not without perceptible faults. — 
 The faces exprefs paflions of the ftrongeft kind, and many of them communicate thofe 
 paflions to all who look upon them; but the bodies are of too grofs an appearance; 
 the mufcular ftrength of the Farnefian Hercules is feen in the men, and the female 
 figures have nothing fuitable to the tender and more -delicate frame of that fex. The 
 face of our Saviour carries, indeed, a dignity that language cannot defcribe; it has 
 an aftonifhing mixture of divine fweetnefs and feverity, which could only be happily 
 exprefTed by the pencil of Angelo. 
 
 The original iketch of the Laft Judgment is at prefent in the gallery of the Duke 
 of Parma. 
 
 Michael Angelo difcontinued painting in the feveraty-fifth year of his age; and 
 having died at Rome, Sandrart tells us, that he was fplendidly interred in that city, 
 at the expence of Cofmo Duke of Tufcany; and that, by order of the fame Prince, his 
 remains were fecretly conveyed to Florence, and depofited, with great funeral pomp, 
 in a magnificent monument, enriched with three marble ftatues, reprefenting Painting, 
 Sculpture, and Architecture.* 
 
 Michael ANGELO, Amerigi, da Caravaggio. 
 
 Painted Hijiory, Portrait, Fruit, and Flowers* 
 DIED 1609, AGED 40. 
 
 He was born at Caravaggio, a village in the Milanefe, in 1569, and was the author 
 of that manner in which he painted; a manner that was ftrong, and had a powerful 
 effect, by the bold oppofition of his lights and fhadows. He took nature for the 
 model of every object that he introduced into his compofitions j but wanted judgment 
 
 either 
 
 * De Piles affirms, that thofe three ftatues which are placed on the tomb of Michael Angelo, were all of his own hand ; 
 but Vafari, in vol. iii. p. 289 and 90, acquaints us, that the Grand Duke app.oinr.ed one of thofe ftatues to be executed by 
 Battifta Lorenzo da Settignano, a difciple of Baccio Bandinelli ; another, to be carved by Giovanni di Benedetto da Caftello, 
 who had been a difciple of Bandinelli > and the third was the work of Valerio Cioli da Settignano. ■* 
 
 D 
 
A N G 
 
 [ H J 
 
 A N G 
 
 either to correct or to improve nature, and imitated indifcriminately the beauties and 
 the defects of his models. It is reported of him, that he always chofe to work in a 
 room where the light defcended from above. 
 
 His ftyle of painting was fo new, and fo furprifing, that moft of the great men, 
 his cotemporaries, ftudied to imitate it; among whom were Domenichino, Guido, 
 Guercino, and others. The two former very foon quitted that, manner, obferving 
 that it wanted variety; the lights being, the fame in all forts of fubjects, and the 
 tafte of delign being very indifferent: but Guercino ftill adhered to it, as well as 
 Valentino and Manfredi. 
 
 The. chief excellence of Caravaggio confuted, in colouring; but his attitudes are 
 ill chofen, his figures not elegantly difpofed, nor do his compofitions mew any fixed 
 idea of grace or grandeur ; yet fome of his pictures are truly fine, and admirably 
 finiflied, with great mellownefs of pencil. 
 
 At firft he painted fruit and flowers ; but afterwards he devoted all his application 
 to hiftorical compofitions, and portraits;, his figures being generally not lower than 
 the middle; and thofe are accounted his beft works which were done in imitation of 
 Giorgione.- 
 
 His manner was molt commendable, when he painted portraits and night-pieces, 
 with figures at half-length; for in thofe his imitation of nature is always true, 
 admirable, and full of uncommon force. In thofe fubjects his local colours are extremely 
 good, his lights are well contrived and diftributed, and the whole has a ftriking 
 effect. But, in the grand hiftorical defigns of this mafter, thofe beauties are not 
 often obfervable; the colouring appears rather hard, and the fhadowing too black 
 (though probably fome what of that blackncfs might have been occafioned by time); 
 his figures are injudicioufly placed, being al moft in the fame line, without any detached 
 groupes; without giving a proper perfpective proportion to thofe figures, to make them 
 appear as if they receded from each other at a due diftance; and without dignity, or 
 elegance, in the airs of his heads. 
 
 In the church of St. Martin, at Naples, there is a capital picture by Caravaggio, 
 ireprefenting the Denial of St. Peter, with figures at half-length, and as large as life ; 
 but it feems to have been rendered more black than it was originally, by time. The 
 head of the Saint is exceedingly fine,, with a great deal of expreflion; and the whole 
 has a fingular force, every object being well coloured and defigned. 
 
 Micha.el ANGEL O, called di Campidoglio. 
 Painted Fruit and Flowers. 
 
 DIED 167O, AGED 60. 
 
 He was born at Rome, in i6to; was particularized by the name of Campidoglio, 
 on account of an office which he held in the Capitol at Rome; and was. a difciple 
 
 of 
 
A N G 
 
 I i5 3 
 
 A N G 
 
 of Fioravanti. He had a moft happy talent for painting fruit and flowers ; and thofe 
 fubjects he defigned, and finifhed, in a ftyle fuperior to any artift of his time. His 
 objefts are well difpofed, and judicioufly chofen; his pencil is free, and firm; his 
 colouring ftrong, natural, and extremely agreeable ; and by proper maffes of light and 
 ihadow, his pictures have a charming force and relief. 
 
 Michael ANGELO Cer qjj o z z i, called d i Battaglia. 
 
 Painted Battles-) Fruity and Converfatiom. 
 
 *DIED l660, AGED 6o» 
 
 According to one writer, this mafter was a difciple of Vicentio, called Mozzo of 
 Antwerp ; and according to another, the difciple of II Gobbo. He was born at Rome 
 in the year 1600, and had a very particular and remarkable manner of painting. He 
 received fome inftruction in the fchool of Antonio Salviati of Bologna, and was called 
 di Battaglia, from the excellence of his ftyle in painting battles. 
 
 But, befide his merit in that branch of his art, he painted fruit in fuch an admirable 
 tafte, as rendered his works defervedly famous through all Europe; all his objects 
 appearing almoft equal to nature herfelf. 
 
 He was extremely fond of painting in the manner of Bamboccio ; a manner which, 
 ?at that time, was wonderfully admired at Rome; and in that ftyle his invention 
 was lively, his difpofition good: he gave to his fubjects great force and truth; and 
 to his characters, humour and expreflion. 
 
 The readinefs of his pencil was furprifing, and the vivacity of his imagination very 
 uncommon ; for, he never fketched his defigns, but only marked them on the canvas, 
 juft as his fancy directed, and then retouched them gradually, till he gave them their 
 utmoft perfection. And it was obferved of this mafter, that his latter works are 
 .preferable to thofe of his earlier time. 
 
 Michael ANGELO Colon n a. 
 
 Painted Hiftory and Perfpettive. 
 
 DIED 1687, AGED 87. 
 
 He was born at Ravenna, in 1600, and at firft was a difciple of Gabriel Ferrantino, 
 but afterwards he became the difciple of Girolamo Curti, called Dentone, a very- 
 eminent painter of architecture, with whom he carefully ftudied that branch of his 
 ^profeflion, and arrived at a confiderable degree of eminence in it. 
 
 In feveral grand defigns he aflbciated with Curti, who had been his beft inftrudtor; 
 and, in conjunction, they enriched a great number of chapels and convents with their 
 
 works. 
 
 * According to the Abrege <ie la Vie des Pelntres, born in 1602, died 1660, aged 58. 
 
 D * 
 
A N G [ 16 ] A N G 
 
 works. In particular, that beautiful perfpe&ive of St. Michael in Bofco; a falon in the 
 Palazzo Grimaldo ; and the magnificent decorations of the theatre at Ferrara. 
 
 He was invited to the Court of Spain by Philip IV. where he was refpected and 
 amply rewarded, equal to his merit ; and was alfo highly efteemed at the Courts of 
 Modena, Florence, Paris, and Parma. There are very few eafel-pieces of his hand to- 
 be feen in thefe kingdoms, though fome of them are preferved in the cabinets of the 
 curious in Italy. His principal works, which eftabliflied his reputation, are grand 
 compolitions in the churches and convents of Italy, and in the palaces of the Nobility. 
 
 Filippo D'ANGELI, called Napoletano. 
 
 Painted Battles and Landfcapes. 
 
 DIED .1640, AGED 40. 
 
 He was born at Rome, in 1600, and obtained the name of Napoletano, by being 
 carried to Naples when he was very young. At his return to Rome, he ftudied 
 diligently after the antiques ; but forfook that noble fchool of instruction, before he had 
 made a fufficient progrefs, and adopted in its ftead the manner of a Flemifh painter 
 called Mozzo (or Stump), becaufe, having loft his right hand, he ufed the pencil with 
 his left. 
 
 He was always moft pleafed with thofe fubjects which admitted of a great number of 
 figures; and he not only grouped and difpofed them with judgment, but he generally 
 gave every figure its proper action and attitude. 
 
 His favourite fubjects were battles, but he likewife painted landfcapes in a very 
 agreeable flyle ; and frequently he painted the views of public buildings, porticos, 
 and the areas before them crowded with people, at different fports or entertainments ; 
 and in thofe deilgns he was correct, diftributing the figures with propriety and 
 elegance. 
 
 Sophonisba ANGUSCIOLA, called Sophonisba. 
 Painted Portrait and Hi/lory. 
 
 DIED 1626, AGED 93. 
 
 She was born at Cremona, in* 1533, °^ a ver y diftinguiflied family. The firft 
 inftructor of this eminent paintrefs, was Bernardino Campi of Cremona 3 but flie learned 
 colouring and pefpective from Bernardo Gatti, called Soiaro. 
 
 One 
 
 * The author of the Mufeum Florentinum is guilty of a very remarkable anachronifm, in regard to Sophonifbaj 
 for he fixes her birth in 1559, in which year it is abfolutely impoffible fhe could have been boin. 
 
 This appears inconteftably from Vafari, who tells us, that ihe painted the portrait of the Queen of Spain, by order 
 of Pope Paul IV. in 156 J ; and to prove this fact, he inferts the letter which fhe fent along with the picture to the 
 Pope, and alfo the Pope's anfwer, both dated in 1561; Sophonifba's from Madrid the 1 6th of September, and the 
 Pope's from Rome the 15th of October} at which time, according to the Mufeum Florent : num, fhe could have been 
 only two years old, if born in 1559. 
 
A N G 
 
 [ 17 ] 
 
 A N R 
 
 One of her firft performances was the portrait of her father, placed between his two 
 children, with fuch ftrong characters of life and nature, with a pencil fo free and firm, 
 and fo lively a tone of colour, that her work was univerfally applauded, and fhe was 
 acknowledged an incomparable painter of portraits. Through every part of Italy fhe 
 is diftinguifhed by no other name than that of Sophonifba. 
 
 But although portraits engroffed the greateft part of her time, yet me defigned 
 feveral hiftorical fubjects, with figures of a fmall fize, touched with abundance of fpirit, 
 and with attidutes eafy, natural, and graceful. 
 
 By continual application to her profellion, (he loft her fight ; and it is recorded that 
 Vandyck, having had an opportunity of converling with Sophonifba, ufed to fay, that 
 he received more beneficial knowledge of the true principles of his art from one blind 
 woman, than by ftudying all the works of the greateft mafters of Italy. 
 
 At Lord Spencer's, at Wimbledon, there is a portrait of Sophonifba, playing on the 
 harpfichord, painted by herfelf ; an old woman appears as her attendant ; and on the 
 picture is written, JufTu Patris. And at Wilton, in the Pembroke collection,, is the 
 Marriage of St. Catharine, painted by Sophonifba.. 
 
 One of her fillers, named 
 
 Lucia ANGUSCIOLA, 
 
 Painted portraits, and gained by her performances a reputation not inferior to 
 Sophonifba, as well in regard to the truth and delicacy of her colouring, as the juftnefs 
 of the refemhlance. And another of her fifters, named 
 
 Europa ANGUSCIOLA, 
 
 From her infancy manifefted an extraordinary genius to painting, and mewed fuch 
 tafte and elegance in her manner of defign, as ^to procure a degree of applaufe almofl 
 equal to Lucia, or Sophonifba. 
 
 Peter Van ANRAAT. 
 
 Painted Hijiory. 
 
 BORN ABOUT THE YEAR 1635. 
 
 The native city of this mafter is not known j but, if the merit of his works is 
 confidered, it fhould feem unaccountable, that fo few incidents of his life are found 
 recorded. Houbraken mentions a very capital picture of this artift, of which the 
 fubject is the Laft Judgment. It contains a multitude of figures, well defigned, correct 
 in the outline, and penciled in a bold and free manner. The principal figures are equal 
 to Cornelius Van Haerlem j and the fmaller figures, which fill up the back ground, are 
 as good as any of the hand of Rothernamer. 
 
 John 
 
ANT 
 
 [ *8 ] 
 
 ANT 
 
 John ANTIQUUS. 
 Painted Hrftory. 
 
 DIED 1750, AGED 48. 
 
 He was born at Groeningen, in 1 702 j and when he had been for fome years 
 inftructed in the art of painting on glafs, he continued to pra&ife in that way, till 
 he was twenty years of age. But, being defirous to learn the art of painting in oil, 
 he placed himfelf under the direction of John WalFenburgh, an able artift, with whom 
 he continued only two years, becaufe he obferved that his mafter would fcarce ever 
 permit him to fee how he prepared or mixed his colours, feeming rather defirous to make 
 a fecret of his art. 
 
 Being difgufted with fuch a conduct:, he went to France, to acquire more improve- 
 ment ; he viewed every thing that was curious in the churches and palaces; and 
 afterwards travelled to Italy, accompanied by his brother Lambert Antiquus, who 
 was a painter of landfcape. Through a variety of diftreffes having arrived at Florence, 
 the Grand Duke gave him all poflible encouragement, and retained him in his fervice 
 for fix years. 
 
 During his refidence at that court, he painted a grand compofition of the Fall 
 of the Giants, which, in the difpofition as well as in the defign, fhewed an equal degree 
 of judgment and tafte. The fketch of it is ftill preferved in the Florentine Academy. 
 
 By permiffion of his patron, he made feveral journeys to Rome, where he had a 
 particular intimacy with Trevifani, Bianchi, and Sebaftian Conca; and fpent one whole 
 year in defigning at the academies ; nor was it an inconfiderable honour to him, that he 
 was exceedingly careffed by Solimena. 
 
 In every part of Europe through which he travelled he left memorable proofs of his 
 genius, and fine execution ; and he is ranked among the beft artifts of his time. 
 
 His manner of defign is good j he painted with great eafe and readinefs; he coloured 
 agreeably, and had acquired in the Roman fchool that elegance of tafte, which is 
 discerned in all his compofitions. 
 
 ANTI VEDUTO. 
 
 Painted Portrait and Hijlory. 
 
 DIED 1626, AGED 74. 
 
 The father of this painter was Imperiale Grammatica of Siena, and Antiveduto 
 was born near Rome, in 1552. At a proper age he was placed under the care of 
 Giovanni Domenico Perugino, where he foon gave furprifing proofs of his genius, and 
 became a portrait-painter of the higheft reputation ; for, in the airs of the head, the 
 beautiful and natural tint of the carnations, and the ftriking refemblance of the 
 features, he had no fuperior. 
 
 He 
 
ANT 
 
 [ 19 ] 
 
 A P P 
 
 He was principally employed by the Medicean family ; but no prince, nor anyperfon 
 of diftinction, vilited Rome, without having their portraits painted by him. His attitudes 
 were eafy and becoming, his colouring warm and lively, and his difpofition extremely 
 good. 
 
 He had likewife a confiderable talent for hiftory, and acquired great applaufe for 
 the elegant ftyle of his compofition, and the noble tafte that diftinguifhed all his 
 performances. 
 
 ANTONELLO da Messina. 
 Painted Hijiory and Portrait. 
 
 DI»iD 1475, AGED. 49. 
 
 He was born at Meffina, in 1426, and was the firft of the Italian mafters who 
 underftood the art of painting in oil ; having had that fecret communicated to him by 
 John van Eyck of Bruges. 
 
 Some of the pictures of Van Eyck, exquifitely finifhed, having been brought 
 from Flanders, to Alphonfo I. King of Naples, were beheld with aftonifhment ; and 
 particularly by Antonello, who was fo ftrongly affected by the beauty and force of the 
 figures, the fweetnefs of the colouring, and the wonderful effects produced by the 
 new difcovery, that he immediately determined to vifit Flanders, to learn, if poffible, 
 an art that appeared fo extraordinary. 
 
 He went; and recommended himfelf fo effectually to Van Eyck, by his affability 
 and ingenuity, as well as by a prefent of fome fine Italian deligns, that Van Eyck 
 unveiled to him the whole myftery ; and Antonello, in a fhort time, became almoft as, 
 eminent as his inftructor. 
 
 From a principle of gratitude, he continued in Flanders as long as Van Eyck lived; 
 but, after his death, Antonello fettled at Venice, where he painted feveral pictures that 
 gained him the approbation of all, as his fubjects were well defigned, the figures 
 beautifully drawn, and the whole very delicately finifhed. 
 
 He communicated the fecret to a painter, named Domenico, from whom Andrea 
 del Caftagno afterwards obtained the knowledge of it ; and from him, the art of painting 
 in oil gradually became known, and generally practifed through all Italy. 
 
 Jacob APPEL. 
 Painted Land/cape^ Portrait^ and Hijiory. 
 
 DIED I75I, AGED 71. 
 
 This artift was born at Amfterdam, in 1680, and had for his firft inftructor Timothy 
 de Graaf ; but afterwards he placed himfelf under the direction of Vander Plaas, 
 by whofe care, and his own affiduity in practice, he was reputed a good painter of landfcape. 
 
 4 The 
 
A P P 
 
 I 20 ] 
 
 ARE 
 
 The works of Tempefta were thofe which afforded him fuch perpetual Satisfaction, 
 that he made them his model ; but he alfo ftudied after nature, and fpent two years in 
 defigning the trees, animals, and agreeable fcenes near the Hague. His greateft 
 improvement, however, was acquired by the obfervations he made on the works 
 of Meyering, having had the good fortune to fee that great mafter paint feveral 
 landfcapes; by which means he learned a much better manner of handling and 
 colouring, and particularly the art of making his objects recede to remote diftances, in 
 perfpe&ive proportion. 
 
 He painted portraits with remarkable fuccefs, and alfo historical Subjects in a good 
 tafte ; and feemed to have a particular pleafure to introduce ftatues into moft of his 
 compositions; for he defigned them well, and gave them the exact refemblance of marble. 
 
 By the beft judges he is efteemed a landfcape-painter of fome merit, but not of 
 the firft rank. He compofed his Subjects with eafe; and he defigned his trees, and 
 the leaves, with truth and variety. His colouring is natural ; and although he 
 is much inferior to Berchem, yet he is fuperior to many whofe works are very much 
 regarded. It is remarked of him, that at the age of eighteen he was considered 
 as a painter of distinction, and to the laft period of his life, he painted with the fame 
 vivacity <xs at the firft. 
 
 Barent APPELMAN. 
 Painted Landscape and Portrait. 
 
 DIED l686, AGED 46. 
 
 He was born at the Hague, in 1640, and proved very excellent in painting 
 landfcapes. The fcenes of his pictures were taken from the charming views about 
 Rome, Frefcati, and other parts of Italy, which recommended his works to perfons of 
 the beft tafte; but his figures were indifferent. 
 
 For fome years he was employed by the Prince of Orange ; and in the palace of Soefdyk, 
 there is a large hall ornamented with landfcapes of this mafter's hand, defigned in an 
 elegant tafte, finely penciled, and well coloured ; and alfo in the fame hall are feveral 
 portraits of his painting, which are exceedingly admired. 
 
 Sometimes he afTifted John de Baan, a very famous painter, in the portrait Style ; and 
 whenever a landfcape was to be introduced, in any of de Baan's pictures as a back 
 ground, it was always painted by Appelman. 
 
 Cjesare ARETHUSI. 
 Painted Hijiory and Portrait. 
 He Jlourijhed in 1590. 
 
 He was born at Bologna, where he learned the art of painting, and ftudied the 
 works of Bagnacavallo ; but he made himfelf truly eminent, by the admirable copies 
 
 5 which 
 
A R L 
 
 [ 21 ] 
 
 A R L 
 
 which he painted after the hiftorical compofitions of the moft celebrated matters. 
 And, although his invention was not very fertile, yet as a portrait-painter he had 
 fingular merit, and found fufficient employment in the Courts of the Italian Princes ; 
 particularly at the Courts of the Dukes of Parma and Ferrara, where he obtained 
 confiderable emoluments and honours. 
 
 The portraits which he painted were extremely in the ftyle of Correggio, round, 
 and with a fine relief ; his touch was light and delicate, and the tints of his colouring 
 fo lively and natural, that every object feemed animated. He became fo intimately 
 acquainted with the pencil and colouring of Correggio, by examining his works with 
 a curious and critical obfervation, that he copied them with incredible exactnefs ; and 
 many of thofe copies, painted by Arethufi, have been deemed undoubted originals 
 of Correggio. But he alfo defigned fubjecls of hiftory, and finiflied them in an 
 exquifite manner, fo as to obtain the approbation and favour of all thofe Princes by whom 
 he was employed. 
 
 He was invited by the Duke of Ferrara to vifit his Court, and received there with 
 extraordinary refpect. That Prince fat to him for his portrait, admired the performance 
 highly, gave him evident proofs not only of his favour, but of his friendfliip and 
 efteem ; and having at laft concluded, that his generous treatment of Arethufi muft 
 inevitably have fecured his gratitude (if not his affection), he freely acquainted 
 him with his real inducement for inviting him to Ferrara. Confiding in the 
 integrity of the painter, he told him there was a lady in that city, whofe portrait 
 he wiflied to poftefs; but it muft be procured in fo fecret a manner, as neither 
 to be fufpected by the lady herfelf, nor any of her friends. He promifed an immenfe 
 reward to Arethufi, if he was fuccefsful and fecret; but threatened him with the 
 utmoft feverity of his refentment, if ever he fuffered the fecret to tranfpire. 
 
 Theartift watched a proper opportunity to (ketch the likenefs of the lady, unnoticed 
 by any; and having fliewn it to the Duke, he feemed exceedingly ftruck with the 
 refemblance, as well as the graceful air of the figure, and ordered Arethufi to paint a 
 portrait from that (ketch, as delicately as he poflibly could ; but above all things, 
 recommended it to him to preferve it from every eye but his own. 
 
 When the picture was finiflied, the painter himfelf beheld it with admiration, and 
 thought it would be injurious to his fame, to conceal from the world a performance 
 which he accounted perfect ; and, through an excefs of pride and vanity, he privately 
 fhewed it to feveral of his friends, who could not avoid commending the work, while 
 they detefted the folly and ingratitude of the artift. 
 
 The fecret thus divulged, circulated expeditioufly ; it foon reached the ears of the 
 lady and her family, who were exceedingly irritated ; and the Duke appeared fo highly 
 enraged at the treachery of Arethufi, that he was almoft provoked to put him to death ; 
 but he only baniftied him for ever from his dominions. 
 
 In the church of St. Giovanni in Monte at Bologna, there is a very admired picture 
 by this mafter. The fubject is the birth of the Virgin; and it is well defigned, with 
 
 E abundance 
 
A R L 
 
 C 22 J 
 
 A R P 
 
 abundance of grace in feveral parts of the compofition; and particularly, a group of 
 two female figures embracing, which is extremely beautiful. 
 
 ARETINO. Vid. Spinello. 
 
 James Anthony ARLAUD. 
 Painted Portrait, 
 
 DIED 1743, AGED 75. 
 
 He was born at Geneva, in 1688, and painted in miniature with good fuccefs ; but 
 after a clofe and retired application to the practice of his art, he became a very 
 confiderable mafter, acquired great eafe and freedom of hand, and great correclnefs 
 of outline ; fo that his portraits were much efteemed for having a ftrong likenefs, and 
 very agreeable attitudes. 
 
 By the delicacy of his works, he obtained the favour of the Duke of Orleans, who 
 honoured Arlaud fo far as to choofe him for an inftru&or in the art of painting, 
 and to compliment him with an apartment at St. Cloud, that he might be with him 
 more frequently. 
 
 This mafter was likewife highly favoured by the Princefs Palatine, who prefented 
 him with her own picture fet with diamonds ; and alfo gave him recommendatory 
 letters to the Court of Great Britain, particularly to Queen Caroline; by whofe 
 encouragement he received many marks of efteem from the nobility and gentry of 
 that generous nation, which is diftinguimed through all Europe for its liberality in 
 encouraging merit of every kind, and particularly every excellence in the polite arts. 
 The portrait of Caroline, at that time Princefs of Wales, , was univerfally admired, 
 and celebrated by feveral of the poets ; and, at his return to Paris, he was loaded 
 with prefents, among which were many medals of gold. 
 
 A moft remarkable painting of Arlaud was an imitation of an admirable bas-relief, 
 carved in marble by Michael Angelo Buonaroti, reprefenting the ftory of Jupiter 
 and Leda. That famous piece of workmanlhip Arlaud imitated fo exquilitely, with 
 a tint of colour fo exa&ly fimilar to the marble, and with fuch corre&nefs in every 
 part, that when they were both placed together, it was fcarcely poffible to diftinguifh 
 the marble from the painting, even by the niceft infpe&ion. The Duke de la Force 
 purchafed it from the painter, at fo large a price as twelve thoufand livres, though 
 it was afterwards fold for a lefs fum. 
 
 Giuseppe Cjesar D'ARPINO, called Gioseppino CavAliere. 
 
 Painted Hijiory and Battles* 
 died 1640, aged 80. 
 This painter was born at Arpino, in the kingdom of Naples, in 1560; but he 
 ftudied at Rome, after thofe matters who were moft celebrated, and was aided in the 
 
 knowledge 
 
ARP 
 
 r *3 ] 
 
 ART 
 
 knowledge of his art, by the inftructions of Pomerancio. By the afiiftance of an 
 happy genius, he acquired a light and agreeable manner of defigning ; though it is 
 remarked by De Piles, that he degenerated into a ftyle that neither partook of refined 
 nature, nor of the antique. 
 
 When he was but a young practitioner, he fliewed fuch a freedom of hand, fo much 
 fpirit in his defign, and fo good colouring, that his productions, even at that age ? 
 aftonifhed the ableft artifts ; but in his more advanced time, his colouring was frequently 
 cold and weak, his attitudes were ftiff and affected, and a great deal of the mannerift 
 appeared in his compofitions. 
 
 His battles, which are to be feen in the Capitol, are the moft efteemed of all his 
 works j and though De Piles affirms that he is fuperficial in his other pictures, yet 
 very judicious writers defcribe the works of this mafter in a different manner, and 
 allow that his drawing is generally good, though the contours of the limbs cannot be 
 commended; that his compofition has a coniiderable degree of elevation; and that 
 there was fomewhat in his ftyle that afforded pleafure, his colouring fometimes being 
 extremely good, though not always fo. And as a proof of his merit, they alledge 
 that his manner was adopted by moft of the artifts of his time, others adhering to the 
 ftyle of Caraveggio, who, as long as he lived, was the competitor and formidable rival 
 of Giofeppino, their manners being as oppofite as their tempers. 
 
 In the chuch of St. Martin, at Naples, there is a grand picture of a Crucifixion; 
 in which compofition are introduced the Virgin, St. John, and Mary Magdalen, 
 the figures being as large as life. An ingenious writer, Monf. Cochin, who faw the 
 picture in 1757, fays it is beautifully coloured, much in the ftyle of Rubens and 
 Baroccio, with a broad and firm pencil, and has a good effect. The heads of all 
 the figures are well defigned, but the expreffion in that of the Magdalen is particularly 
 commendable. But as to the contours of the limbs, and the attitudes, they are in general 
 much overftrained. 
 
 Jaques D'ARTOIS. 
 
 Painted Landfcape. 
 
 DIED 1665, AGED 52. 
 
 He was born at Bruffels, in 1613; and having been carefully inftructed in the art 
 of painting by Wildens, (as fome authors imagine) he perfected himfelf by a ftudious 
 obfervation of nature. 
 
 No Flemifli painter, cotemporary with this great mafter, could be more admired 
 than he was. His landfcapes have an agreeable folemnity, by the difpofition of his 
 trees, and the breaking of his grounds ; the diftances are well obferved, and die away 
 perfpectively, with a bluifh diftance of remote hills; and his figures are properly and 
 very judicioufly placed. His pencil is foft, his touch light and free, particularly in the 
 
 E 2 leafing 
 
ASH 
 
 C H j 
 
 ASP 
 
 leafing of his trees ; and there is generally a pleafing harmony in the whole. It is faid 
 that Teniers either painted or retouched the figures of his iandfcapes. 
 
 He is remarkable for always ornamenting the ftems of his trees with mofs, ivy, or 
 other plants, the extremities of which are often loofely hanging down. His pictures 
 are coloured with a force refembling thofe of Titian, except that fometimes they are- a 
 little too dark. 
 
 Edmund ASHFIELD. 
 Painted Portrait. 
 
 DIED AGED 
 
 This painter was born in England, and became the difciple of Michael Wright. But 
 although he was capable of painting in oil, he for the moft part accuftomed himfelf tq 
 paint portraits in crayon ; having difcovered a method of producing a variety of tints in 
 that manner of colouring, which anfwered every complexion, and gave roundnefs and 
 ftrength to his heads. 
 
 His works are much prized, and fome of them were fo highly wrought, as to be 
 purchafed at ten pounds a-piece. He was the inflru£tcr of Lutterel, who arrived at 
 a degree of perfection in crayon painting, fuperior to his mafter. 
 
 John ASPER, or Aspar. 
 Painted Portraits and Still Life. 
 DIED 157I, AGED "]2. 
 
 He was born in Zurich, in Switzerland, in 1499, and was cotemporary with Holbein. 
 He painted portraits in the manner of that celebrated mafter, with fo much life, nature, 
 and character, that his works v/ere exceffively applauded, and his reputation was little 
 inferior to that of Holbein. 
 
 To record the merit of this mafter, and to preferve his memory, a medal was ftruck, 
 with his name inferibed on it ; the figure was taken from a portrait of him, and on the 
 reverfe was a character highly to his honour. 
 
 Amico ASPERTINCX 
 Painted Hi/lory. 
 DIED 1572, AGED 78. 
 
 This mafter was born at Bologna, in 1494, and learned the art of painting from 
 Francefco Francia. Through Italy he was diftinguiftied by the name of Amico da due 
 Panelli ; becaufe, when he painted, he ufed both hands with equal dexterity, laying on 
 the light colours with the one, and the dark with the other. 
 
 His 
 
ASS 
 
 BAA 
 
 His pictures had a good effect, being painted with a ftrong body of colours, with a 
 free touch, and in a grand flyle ; but this defcription can only fuit fome of his beft 
 performances ; for his imagination was, at particular times, whimfical, wild, and 
 extravagant; and whatever fubjects he defigned when his mind had a wrong turn, were 
 unworthy of being compared with thofe which he compofed and finiflied when his thoughts 
 were fedate and undifturbed. 
 
 John ASSELYN, called Crabbetje. 
 Painted Landscapes and Battles. 
 
 DIED 1660, AGED 50. 
 
 He was born at Antwerp, in 1610, and was a difciple of Efaias Vandervelde ; and 
 under the guidance of 10 able a matter, he became an excellent painter of landfcape. 
 His companions nick-named him Crabbetje, from a crooked turn in his fingers and his 
 hand, which caufed him to hold his palette with fome degree of awkwardnefs. And yet, 
 by the lightnefs, freedom, and fpirit of his touch, it could not be fuppofed that his hand 
 could have the fmalleft imperfection. 
 
 He was one of the firft Flemifh painters who adopted the clean and bright manner of 
 landfcape-painting. He ftudied after nature in the country about Rome, improving 
 his tafte by the delightful fituations of towns, villas, antiquities, figures, and animals, 
 which he fketched upon paper, to make a proper ufe of them in his defigns. In the 
 ftyle of his landfcape he chofe particularly to imitate Claude Lorraine ; but, in other 
 parts of his paintin?, he itemed fond of making Bamboccio his model. 
 
 He enriched his landfcapes with the veftiges of noble- buildings, and the views of 
 fuch feats as he obferved to be ..beautiful, by their fituation or conftrudtion. His 
 colouring is extremly bright and clear ; his fkies are warm j his touch is free and firm ; 
 his figures and animals are well drawn, and judicioufly difpofed; and his pictures juftly 
 merit the approbation which they have always received. 
 
 John de BAAN. 
 Painted Portrait. 
 
 DIED 1762, AGED 69. 
 
 He was born at Haerlem, in 1633, and inftru&ed in the art of painting by his 
 uncle Piemans, who painted in the manner of the Velvet Brueghel. Afterwards 
 he ftudied under Bakker at Amlterdam, with whom he practifed affiduoufly every 
 particular from which he could receive improvement; fpending the whole day at 
 the pencil, and the evenings in defigning. And as his mafter regarded him both 
 for his genius and diligence, he gave him all the encouragement and affiftance in 
 his power. 
 
BAA 
 
 r 26 ] 
 
 BAA 
 
 At that time the works of Vandyck and Rembrandt were exceedingly applauded ; 
 and he feemed to find fome difficulty in determining which of thofe mafters he ftiould 
 imitate j but at laft he appeared to give the preference to Vandyck. 
 
 His merit foon was univerfally known; and Houbraken afferts, that he was invited 
 to London by Charles II. and conveyed to England in one of the King's mips. He 
 painted the portraits of that Monarch, the Queen, and the Nobility of the firft rank at 
 Court ; and was much admired for the elegance of his attitudes, as alfo for his clear, 
 natural, and lively tone of colouring. 
 
 After continuing for fome time in England, he returned to the Hague, and there 
 painted a noble portrait of the Duke of Zell, for which he received a thoufand 
 Hungarian ducats, amounting to near 500I. And by the Duke of Tufcany he was fo 
 highly honoured, as to have his portrait placed in the famous gallery of painters at 
 Florence, and received a valuable prefent from that Prince in return for the picture. 
 
 The beft of the performances of De Baan is the portrait of Prince Maurice of 
 Naflau, who had fufficient patience and condefcenfion to fit to him as long as he defired; 
 and in the execution of it, the artift exerted the utmoft efforts of his pencil. 
 
 Jacob De BAAN. 
 
 Painted Portraits and Converfations. 
 
 DIED I7OO, AGED 27. 
 
 He was born at the Hague, in 1673, and learned the art of painting from his 
 father, John De Baan ; and having fo able a director, and fo excellent an example, 
 he very early became a painter of diftinction. 
 
 About the twentieth year of his age he went to England among the attendants 
 of William III. where the reputation of his father procured him a favourable reception. 
 He painted feveral excellent portraits for the Nobility at the Court of London, and 
 particularly a portrait of the Duke of Glocefter, which gained him fo much efteem, 
 that he was earneftly folicited to continue in England; but no inducement could prevail 
 with him to delay his intended journey to Rome. 
 
 In his route to that city he vifited Florence, and was received by the Grand Duke 
 with lingular kindnefs; where having examined carefully the admirable performances 
 of the ancient and modern artifls, in that celebrated collection, the Duke mewed 
 him alfo the portrait of his father, which was placed in the gallery. 
 
 From Tufcany he travelled to Rome, and for a fhort timg applied himfelf clofely 
 •to his ftudies. He painted feveral portraits and converfations, during his refidence 
 at Rome, by which he acquired a large fum of money; but he had the unhappinefs 
 to fquander it all away in exceffes and profufion. 
 
 His pictures were excellently handled, and he approached near to the merit of his 
 'father, in his portraits; but, in other parts of painting, he probably would have far 
 
 furpafTed 
 
BAB [27] BAC 
 
 furpafled him, if he had appropriated more of his time to his ftudies, and had not died 
 at fo early a period of life. 
 
 Theodore Dirk BABEUR, or Baburen. 
 
 Painted Hi/lory, Converfations^ and Mufical Performers* 
 
 DIED AGED 
 
 The manner of painting which this matter generally pradtifed, was with figures 
 as large as life; and mod of his pictures reprefent the figures at half-length. He 
 had a free and firm pencil; his drawing is tolerably correct:, and his colouring ftrong; 
 but it is not very pleafing to the eye, by a yellowifh brown tint that predominates 
 through the whole. 
 
 His expreffion is but indifferent in any characters, except thofe which are mirthful ; 
 and in fome of thofe he hath imitated ungraceful nature with tolerable exactnefs and 
 fuccefs. Moft of his pictures reprefent philofophers, players at cards, or perfons 
 performing on mufical inftruments, in which his drawing is far preferable to his 
 colouring* 
 
 Houbraken fays, that he fometimes painted perfpectives in the manner of Neefs; 
 but other authors are filent in regard to any of his attempts in that ftyle. Perhaps 
 there might have been another painter of the fame name, whofe fubjects were fimilar 
 to thofe of Neefs. But, to judge of Babeur by thofe pictures to which he has affixed 
 his name, his touch and handling feem to be very oppofite to the manner of pencilling 
 and finifhing requifite for fuch delicate works as rendered Neefs fo defervedly famous. 
 
 B A C C I C I. Vid. G a u l 1. 
 
 Fra. Bartolomeo BACCIO, called Bar tele mi di S. Marco. 
 
 Painted Hijiory and Portrait. 
 
 DIED I517, AGED 4&. 
 
 He was born at Savignano, near Florence, in 1469, and was a difciple of Cofimo 
 Rofelli ; but his principal knowledge in the art of painting was derived from Lionardo 
 da Vinci. He underftood the true principles of defign better than moft matters of 
 his time, and was alfo a confiderable painter in perfpective; which induced Raphael 
 to have recourfe to him, after he had quitted the fchool of Perugino; and under his 
 direction likewife Raphael ftudied the art of managing and uniting colours, as well 
 as the rules of perfpective. 
 
 Some years after the departure of Raphael from Florence, Baccio vifited Rome; and 
 by the obfervations he made on the antiques, and the works of Raphael, which were 
 then the admiration of the whole world, he was extremely improved, and manifefted his 
 
 4 acquired 
 
B AC 
 
 r *s j 
 
 B A C 
 
 acquired abilities by a picture of St. Sebaftian, which he finiftied at his return to Flo- 
 rence. It was fo well defigned, fo naturally and beautifully coloured, and had fo ftrong 
 an exprefiion of pain and agony, that it was removed from the place Where it was 
 publicly feen (in the chapel of a convent), as it had been obferved to have made too 
 ftrong an impreffion on the imaginations of many women who beheld it. 
 
 He was very laborious, and made nature his perpetual ftudy; he defigned the naked 
 correctly; his figures had a great deal of grace, and his colouring was admirable. 
 
 He is accounted to have been the firft inventor of that machine called a Layman 
 by the artifts, and which, to this day, is in general ufe. Upon that he placed his 
 draperies, to obferve with greater exactnefs their natural and their more elegant folds. 
 
 A capital picture of the Afcenfion by Baccio, is in the Florentine collection. 
 
 Jaqjues BACKER, or Bakker. 
 
 Painted Hijiory. 
 
 DIED T560, AGED 30. 
 
 This painter was born at Antwerp, in 1530, and learned the principles of painting 
 from his father, who was an artift very knowing in his profeflion, though his works 
 were in no great eftimation. 
 
 After the death of his father, he lived in the houfe of Jacopo Palermo, a dealer in 
 pictures ; who avarieiuufly took care to keep him inceflantly employed, and fent his 
 paintings to Paris to be difpofed of, where they happened to be exceedingly admired. 
 The judicious were very eager to purchafe them; and though the tranfactor lold them 
 at a great price, yet the poor artift was not proportionally rewarded, but continued 
 in the fame obfcure and deprefled condition. His merit, indeed, was univerfally allowed; 
 but his name, and the narrownefs of his circumftances, were as univerfally unknown. 
 
 He had a clean, light manner of pencilling, and a tint of colour that was extremely 
 
 agreeable. 
 
 
 Jacob BACKER, or Bakker. 
 
 Painted Portrait and Hiftory. 
 
 *DIED 165I, AGED 42. 
 
 He was born at Harlingen, in 1609, but fpent the greateft part of his life at Amfterdam ; 
 and by all the writers on this fubject he is mentioned as an extraordinary painter, 
 particularly of portraits, which he executed with ftrength, fpirit, and a graceful 
 refembiance. 
 
 He v/as remarkable for an uncommon readinefs of hand, and freedom of pencil; and 
 his incredible expedition in his manner of painting, appeared even in one portrait of 
 
 a lady 
 
 * According to Defcamps, died in 1 641, aged 33. 
 
BAG 
 
 r *9 ! 
 
 B A C 
 
 a lady from Haerlem, that he painted at half-length, which was begun and finifhed 
 in one day, though he adorned the figure with rich drapery, and feveral ornamental 
 jewels. 
 
 He alfo painted hiftorical fubjects with good fuccefs ; and in that ftyle there is a fine 
 picture of Cimon and Iphigenia, which is accounted by the connoiffeurs an excellent 
 performance. In defigning academy figures, his expreflion was fo juft, and his outline 
 fo correct, that he obtained the prize from all his competitors; and his works are ftill 
 bought up at very high prices in the Low Countries. 
 
 In the collection of the Elector Palatine there is an excellent head of Brouwer, 
 painted by this mailer; and in the Carmelites church at Antwerp is preferred a capital 
 picture of the Laft Judgment, which is well defigned and well coloured. 
 
 William BACKEREEL, called Bacqjjerelli. 
 
 Painted Hi/lory. 
 DIED AGED 
 
 He was born at Antwerp, and was a difciple of Rubens, at the fame time that 
 Vandyck was educated in that fchool. 
 
 When each of them quitted that matter, and commenced painters, Backereel was very 
 little inferior to Vandyck, if not nearly his equal. And this may be manifeftly feen in 
 the works of the former, which are in the church of the Auguftin Monks at Antwerp, 
 where thofe two great artifts painted in competition; and both were praifed for their 
 merit in their different ways, but the fuperiority was never determined in favour either 
 of the one or the other. 
 
 He had likewife a good tafte for poetry; but, by exercifing that talent too freely, in 
 writing fatires againft the Jefuits, that body of ecclefiaftics, who are not more famous 
 for their political than for their perfecuting fpirit, purfued him with unremitted revenge, 
 till they compelled him to fly from Antwerp; and by that means deprived his own 
 country of fuch paintings as would have contributed to its perpetual honour. 
 
 Sandrart takes notice, that in his time there were feven or eight painters, who were 
 very eminent, of the name of Backereel, in Italy and the Low Countries. 
 
 Ludolph BACKHUYSEN. 
 
 Painted Ships, Sea-Pieces, and Sea -Ports. 
 
 DIED I7O9, AGED 78. 
 
 This eminent mafter was born atEmbden, in 1631, and received his earlier! inftrU&ioii 
 from Albert Van Everdingen; but acquired his principal knowledge by frequenting the 
 painting rooms of different great mafters, and obferving their various methods of 
 touching and colouring. One of thofe mafters was Henry Dubbels, whofe underftanding 
 in his art was very extenfive; and he was remarkably communicative of his knowledge 
 to others. From him Backhuyfen obtained more real benefit, than from all the painters 
 of his time, either by ftudying their works, or perfonally converfing with them. 
 
 F He 
 
BAC 
 
 r 30 3 
 
 BAD 
 
 He had not practifed very long when he became the object of general admiration ; fo- 
 that even his drawings were fought after, and feveral of them were bought up at 100 
 florins a piece. 
 
 It was obferved of him, that, while he was painting, he would not fuffer even his moft 
 intimate friends to have accefs to him, left his fancy might be difturbed, and the ideas he 
 had formed in his mind be interrupted. 
 
 He ftudied nature attentively in all her forms; in gales, calms, ftorms, clouds, rocks, 
 Ikies, lights, and fhadows ; and he expreffed every fubject with fo fweet a pencil, and 
 fuch tranfparence and luftre, as placed him above all the artifts of his time in that ftyle, 
 except the younger Vandervelde, who is defervedly efteemed the firft in that manner of 
 painting. 
 
 It was a frequent cuftom with Backhuyfen, whenever he could procure refolute 
 mariners, to go out to fea in a ftorm, in order to ftore his mind with grand images, 
 directly copied from nature, of fuch fcenes as would have filled any other head and heart 
 with terror and difmay; and the moment he landed, he always impatiently ran to his palette, 
 to fecure thofe incidents of which the traces might, by delay, be obliterated. 
 
 He perfectly underftood the management of the Chiaro-Scuro ; and by his fkill in that 
 part of his art, he gave uncommon force and beauty io hia' objects. He obferved 
 ftridtly the truth of perfpective, in the diftances of his veffels, the receding of the grounds 
 on the fliores, and the different buildings which he defcribed in the fea-ports ; whether 
 they were the refult of his own imagination, or fketched, as he ufually did, after nature. 
 
 His works may eafily be diftinguifhed by an obfervant d^e, from the freedom and 
 neatnefs of his touch; from the clearnefs, and natural agitation or quiefcence of the water; 
 from a peculiar tint in his clouds and Ikies; and aifo from the exact proportions of his 
 ftiips, and the gracefulnefs of their pofition. 
 
 For the Burgomafters of Amfterdam he painted a large picture, with a multitude of 
 veffels, and a view of the city at a diftance, for which they gave him thirteen hundred 
 guilders, and a confiderable prefent; which picture they afterwards prefented to the King 
 of France, who placed it in the Louvre. No painter was ever more honoured by the 
 vifits of Kings and Princes than Backhuyfen; the King ofPruffia was one of the number; 
 and the Czar Peter the Great took delight to fee him paint, and often endeavoured to 
 draw, after veffels which he had deiigned. He was remarkably afliduous; and yet it feems 
 aftonifliing to conlider the number of pictures which he fini^f d, and the exquifite manner 
 in which they are painted. 
 
 Francis BADEN S.. 
 Painted Hijiory and Portrait. 
 
 DIED 1603, AGED 32. 
 
 He was born at Antwerp, in 157 1; and the firft rudiments of the art were com- 
 municated to him by his father, who was but an ordinary artift. However, he vifited 
 Rome, and feveral parts of Italy, and there formed a "good tafte of defign, and a manner 
 exceedingly pleafing. 
 
 When 
 
BAD 
 
 C 3' 1 
 
 B A E 
 
 When he returned to his own country, his merit procured for him great employment, 
 and ftill greater reputation, and he was ufually diftinguiflied by the name of the Italian 
 painter. His touch was light and fpirited, and his colouring warm ; and he had the 
 honour of being the firft who introduced a good tafte of colouring among his countrymen. 
 
 While his acknowledged merit was rewarded with every public teftimony of efteem 
 and applaufe, unhappily he received an account of the death of his brother, who had been 
 affaflinated on a journey; and the intelligence affected him fo violently, that it occafioned 
 his own death, to the inexprefiible regret of every lover of the art. 
 
 Antonio BADILE. 
 Painted Hijlory and Portrait, 
 
 DIED I560, AGED 80. 
 
 He was born at Verona, in 1480, and by great ftudy and application acquired a more 
 extenfive knowledge of the true principles of painting, than any of his predeceflbrs. He 
 was confefledly a moft eminent artift; but he derived greater honour from having two 
 fuch difciples as Paolo Veronefe, and Baptifta Zelotti, than he did even from the 
 excellence of his own compofitions. 
 
 His colouring was admirably good, his carnations beautiful; and his portraits preferved 
 the perfect refemblance of flefh and real life; nor had he any caufe to envy the 
 acknowledged merit of Titian, Giorgione, or the beft of his cotemporaries. 
 
 Sisto BADOLOCCHI. 
 
 Painted Hijlory. 
 DIED AGED 
 
 This mailer was born at Parma, and was a difciple of Annibal Caracci; by whofe 
 admirable precepts he made an extraordinary progrefs in a fhort time, and proved the 
 beft defigner of any of thofe who were educated with him in that illuftrious fchool. 
 
 He poflefled a lively imagination, and a fingular readinefs of hand; and it was 
 concluded by all who faw his performances, that he would have arrived at an high degree 
 of merit, if he had not died fo young as he did, in the very bloom of life, and if he had 
 applied himfelf with more affiduity to his profeffion. 
 
 BAERSTRAT. 
 Painted Sea-Ports, Sea- Shores, and Fijh. 
 DIED 1687, AGED 
 
 Though this mafter was very eminent, and his works in very good efteem, yet 
 authors are filent as to the place of his nativity, and the year of his birth; but his 
 
 F 2 pictures 
 
B A I 
 
 r 3* j 
 
 BAL 
 
 pictures are eafily difringuiflied by a general brightnefs diffufed through the whole, and 
 particularly in his fkies. 
 
 His drawing was correct, and his perfpective extremely true; he copied every object 
 that he introduced into his compofitions from nature, and was exact in his reprefentations 
 of fea-ports, mips of war, or vefTels of a fmaller fize, which he difpofed judicioufly, and 
 made the whole together produce a very pleafing effect.. 
 
 His pencil is light and clean, his touch fpirited, and his colouring is always tranfparent; 
 for, in general, he finifhed his pictures with abundance of neatnefs. 
 
 David BAILII. 
 
 Painted Perfpective Views and Portraits. 
 
 DIED 1638, AGED 54. 
 
 He was the fon of Peter Bailii, an artift of fome note, and was born at Leyden in 1584, 
 From his father he learned to draw and defign; but he was afterwards placed under the 
 care of Adrian Verburg, and continued with him for fome time; and when he quitted 
 that matter, he ftudied to much greater advantage with Cornelius Vandervoort, an 
 excellent portrait-painter, and with him he lpent above iix years. 
 
 As Vandervoort pofTefTed many capital paintings of fome great matters, Bailii, for his 
 own improvement, copied them with critical care and obfervation ; and particularly copied 
 one perfpective view of the infide of a church, originally painted by Stenwyck, which he 
 finifhed with fuch accuracy, that even Stenwyck himfelf could fcarce determine which was 
 the original, or which the copy, when both were placed before him. 
 
 He travelled through feveral parts of Italy, to fee the works of the celebrated mailers 
 of that country, and for a few years refided at Romej and abroad, as well as in his own 
 country, the correctnefs of his drawing, and the delicate handling and finifhing of his 
 pictures, procured him employment, admirers, and friends. 
 
 In the latter part of his life he difcontinued painting, and only drew portraits on vellum 
 with a pen, which he heightened with black lead, and gave them wonderful force and 
 roundnefs. 
 
 Mario BALASSI. 
 
 Painted Hijiory and Portrait. 
 
 *DIED 1667, AGED 63. 
 
 He was born at Florence, in 1604, and had for his firft inftructor Jacopo Ligozzi;, 
 but afterwards he fucceflively became the difciple of Rofelli and Paflignano, though he 
 preferred the manner of the latter to that of his other matters. He accompanied Paflignano 
 to Rome, not only to be his affiftant in the works which he had undertaken at the 
 
 command 
 
 According to the Chronological Tables, died in 1670. 
 
B A L 
 
 C 33 3 
 
 B A L 
 
 command of Urban VIII. but alfo to improve himfelf by thofe incomparable curiofities of 
 fculpture and painting which are preferved in that city. 
 
 During his refidence there, Don Taddeo Barberini, having obferved with what exact 
 precifion Balaffi, in his touch and expreffion, imitated the touch and expreffion of his 
 mafter, concluded that fuch a powerful imitative talent would enable him to copy the 
 work of a fuperior artift with equal exactnefs: he therefore tried the experiment, by 
 employing him to copy the Transfiguration painted by Raphael, which Balaffi executed 
 with moft univerfal applaufe, and to the fur t prife of the moft fkilful perfons at Rome. 
 
 By the recommendation of Piccolomini he was introduced to the Emperor Ferdinand III. . 
 who received him in an honourable manner, and had his portrait painted by him, for 
 which Balaffi was nobly rewarded. 
 
 The greateft excellence of this mailer feemed to confift in the imitation of the ancient 
 mafters; and, by his fagacious attention to that point, being alfo applauded for what he 
 had in that way performed, he was deluded to imagine himfelf capable of equalling them, 
 in a ftyle and manner of his own, as noble^ and as fublime. But he failed in the attempt; 
 and the new manner which his vanity encouraged him to aflume, met with as much^ 
 difefteem and contempt, as his former works had received of univerfal approbation. 
 
 Hendrick Van BALEN. 
 
 Painted Hijlory and Portrait,. 
 
 DIED 1632, AGED 72. 
 
 He was born at Antwerp, in 1560, and was a difciple of Adam Van Oort; but he 
 quitted that mafter, to acquire a better tafte of defign and compofition, by purfuing his 
 ftudies at Rome, where he refided for a confiderable time. He copied the antiques, he 
 attended to the works of the moft memorable modern artifts ; and, at his return to his 
 own country, the viiible improvement of his tafte recommended him to the favour and 
 efteem of the ableft judges of the art. 
 
 He diftinguifhed himfelf by a good manner of defigning, and his works are admitted 
 into the cabinets of the curious, among thofe of the principal painters. He particularly 
 excelled in the naked, and gave to his figures fo much truth, roundnefs, and correctnefs 
 of outline, that few of his cotemporaries could enter into competition with him. 
 
 Several fine portraits of his hand are at the Hague; among which there is one adorned 
 with allegorical figures ofWifdom and Juftice, which extorts commendation from all who 
 attentively confider it. 
 
 All the hiftorical fubjects painted by Van Balen have abundant merit. His defigns of 
 the Deluge, of Mofes ftriking the Rock, and the drowning of Pharaoh, are grand and 
 noble compofitions. Houbraken obferves, that Van Balen, with great judgment, hath 
 introduced the Ifraelites in a clear light in the back-ground, but the Egyptians in a ftrong 
 lhadow in the fore-ground, which had a very fine effect} the figures being well defigned, 
 
 5 the 
 
B A L 
 
 C 34 ] 
 
 BAL 
 
 the attitudes and draperies well chofen, and the number of the figures being very 
 confiderable. Of this matter's hand alfo the Judgment of Paris is accounted a 
 mafterly performance ; in which the figure of Venus is fo elegantly defigned, fo full of 
 life, and fo round, that it feems to ftand forth from the furface. 
 
 The landfcapes and back-grounds of the pictures compofed by Van Balen, were 
 generally painted by the Velvet Brueghel. 
 
 John Van BALEN. 
 Painted Hijiory^ Landfcapes^ and Boys. 
 
 BORN IN l6ll. 
 
 He was born at Antwerp, and derived his knowledge of the art, and his fine tafte of 
 drawing and defign, from his father Hendrick Van Balen ; but, as foon as he had made a 
 competent progrefs, he travelled to Rome, and lived for feveral years in that and other 
 cities of Italy. There he acquired a good gufto of defign, though he was fometimes 
 incorrect ; and his particular merit was fliewn in his naked figures of boys, Cupids, 
 nymphs bathing or hunting, of which fubjects he painted a confiderable number, and he 
 piocureJ both praifc and riches by his landfcapes *nd hiftones. 
 
 His pictures were well handled, his trees touched with fpirit, and his herbage and 
 verdure looked natural and lively. The carnations of his figures were clear and frefh, 
 his colouring in general was tranfparent, and the airs of his heads were in the manner 
 of Albano. 
 
 Lazaro BALD I. 
 Painted Hi/lory. 
 
 DIED I703, AGED 80. 
 
 He was born at Piftoia, in the territory of Tufcany, in 1623, from whence he 
 went to Rome, to place himfelf as a difciple under Pietro da Cortonaj and by the 
 excellent inftruction of that eminent mafter, he obtained an elegant ftyle of thinking 
 and compofing, a ready management of the pencil, and a beautifully ftrong tone of 
 colouring. 
 
 He was employed by Pope Alexander VII. to paint the gallery at Monte Cavallo ; 
 and he fhewed the power of his genius and execution, in the defigns which he finifhed 
 in a chapel belonging to the church of St. John Lateran, in which are combined correctnefs 
 and elegance, with an uncommon force, harmony, and beauty of colouring. 
 
 Antonio BALESTRA. 
 Painted Hi/iory. 
 
 DIED 1720, AGED 54. 
 
 He was bern at Verona, in 1666, and at the age of twenty-one went to Venice, 
 where he entered himfelf in the fchool of Antonio Belucci, and continued for three 
 
 2 years 
 
B A L 
 
 i 35 ] 
 
 BAL 
 
 years under his direction ; but from thence he vifited Bologna and Rome, and at the 
 latter became the difciple of Carlo Maratti. 
 
 Under the tuition of fo eminent a genius, he made a very great proficiency, and 
 exerted himfelf for fome hours of each day in defigning after the antiques, after Raphael, 
 Correggio, Annibal Caracci, and other admired painters ; by which conduct he fo 
 effectually confirmed his tafte and freedom of hand, that he obtained the prize of merit, 
 in the Academy of St. Luke, in the year 1694, when he was only twenty-eight years of age. 
 
 From that time his reputation was eftablifhed, and he received fufficient encouragement, 
 being engaged to work for moft of the churches, and in the palaces of the Nobility, 
 and his paintings were admired in every part of Europe. 
 
 His ftyle is fweet and agreeable, not unlike that of Maratti; and the judicious 
 obferved, with a degree of delight and approbation, a certain mixture in the works of 
 Baleftra, of the feveral manners of Raphael, Correggio, and Caracci. 
 
 In the church of Santa Maria Mater Domini, at Venice, there is one of the moft capital 
 performances of Baleftra, reprefenting the Nativity of our Saviour. It is defigned in a 
 grand ftyle, the compofition is excellent, and has a great deal of grace. The heads are 
 peculiarly fine, and the whole has a noble effect, with remarkable harmony. In a chapel 
 belonging to the church of St. Geminiano, in the fame city, there is a dead Chrift m 
 the arms of the Virgin, painted by this mafter in a grand tafte ; and although the 
 compofition confifts but of a few figures, they are finely defigned, and in every part of 
 it there is fufficient merit to claim and juftify applaufe. 
 
 Peter B ALT ON.. 
 
 Painted Landscape and Hijiory. 
 
 DIED AGED 
 
 He was born at Antwerp, and became a landfcape-painter of confiderable eminence 
 among the Flemings; in his ftyle and manner refembling Peter Brueghel. His moft 
 ufual fubjects were Fairs, Kermeffes, and Converfations, in which his figures were of a 
 fmall fize, but touched with a great deal of fpirit. He painted equally well in water- 
 colours, and in oil; and was allowed particularly to excel in his drawings. 
 
 A very remarkable incident happened to this artift at the Court of the Emperor. 
 That Monarch having engaged Balton to paint a landfcape, with a great number* of 
 figures, Balton chofe for his fubject, St. John preaching in the Defert, which afforded 
 him an opportunity of filling his defign with a numerous variety of auditors. To every 
 one of them he gave a ftrong and proper exprefiion of attention to the principal figure j 
 every individual having its eyes directed to the preacher. But the Emperor, from fome 
 motive that never was difcovered, ordered a monftrous elephant to be painted in the 
 place of the faint ; fo that the whole auditory feemed then only to exprefs an aftonifli- 
 ment at the unwieldy bulk and fhape of the animal j nor was the picture ever altered. 
 
 By 
 
BAM 
 
 BAN 
 
 By fome it was conjectured that the Emperor meant it only as a piece of humour and 
 drollery ; by others it was imputed to a contempt for the artift ; but by all the ecclefiaftics 
 it was afcribed to a contempt for religion. 
 
 BAMBOCCIO. 
 
 Painted Converfations y Land/capes, Cattle-, &c. 
 
 * DIED 1673, AGED 60. 
 
 This mafter was born at Laeren, near Narden, in 1613 , his name was Peter Van 
 Laer, but in Italy they gave frim the name of Bamboccio, on account of the uncommon 
 fhape of his body, the lower part being one third part longer than the upper, and his 
 neck fo fhort that it was buried between his moulders. ✓ 
 
 He had, however, an ample amends for the unfeemlinefs of his limbs, in the fuperior 
 beauties of his mind; he was endowed with an extenfive genius, and indeed had an 
 univerfal tafte for every part of painting. He refided at Rome for fixteen years 
 fucceflively ; every day fludying to improve himfelf, by thofe beautiful models which 
 were continually open to his obfervation, and by the lovely fcenery in the environs of 
 that city. He was held in the higheft efteem by all ranks of men, as well as by thofe of 
 his own profeffion, not only on account of his extraordinary abilities, but alfo for the 
 amiable qualities of his mind. 
 
 He ftudied nature inceffantly, oberving with a curious exa&nefs every effect of light 
 on different objects, at different hours of the day; and whatfoever incident afforded 
 pleafure to his imagination, his memory for ever perfectly retained. His ftyle of 
 painting is fweet and true, and his touch delicate, with great tranfparency of colouring. 
 His figures are always of a fmall fize, well proportioned, and correctly defigned ; and 
 although his fubjects are taken but from the lower kind of nature, fuch as Plunderings, 
 Playing at Bowls, Inns, Farriers Shops, Cattle, or Converfations, yet whatever he 
 painted was fo excellently defigned, fo happily executed, and fo highly finiihed, that 
 his manner was adopted by many of the Italian painters of his time. His works are 
 ftill univerfally admired, and he is juftly ranked among the firft clafs of the eminent 
 mafters. 
 
 His hand was as quick as his imagination, fo that he rarely made fketches or defigns 
 for any of his works ; he only marked the fubject with a crayon on the canvas, and 
 finifhed it 'without more delay. 
 
 His memory was amazing; for whatever objects he faw, if he considered them with 
 any intention to infert them in his compofitions, the idea of them was fo ftrongly 
 impreffed on his mind, that he could reprefent them with as much truth as if they were 
 placed before his eyes. Sandrart obferves, that although painters who are accuftomed 
 
 to 
 
 * The author of the Abrege de la Vie des -Peintres fixes the death of Bomboccio in 1675, at the age of 62 ; but 
 Sandrart, who was his intimate frierid, and moft oth^r writers, agree that he died at the age of 60. 
 
BAN 
 
 C 37 J 
 
 BAP 
 
 to a fmall fize, are frequently inaccurate in the difpofition of the different parts of their 
 fubje£r, feeming content if the whole appears natural j yet Bamboccio was as minutely 
 exact in having his figures, trees, grounds, and diftances, determined with the utmoft 
 precifion and perfpective truth, as the beft mafters ufually are in pictures of the largeft 
 fize ; which is one circumftance that caufes the eye to be fo agreeably deluded by the 
 paintings of Bamboccio. 
 
 In the latter part of his life he was feverely tormented with an afthmatic complaint, 
 which he endured with much impatience; and it is reported, that as the diforder feemed 
 to him infupportable, he threw himfelf into a canal to fhorten his mifery, and was 
 drowned. 
 
 Baccio BANDINELLI. 
 
 Painted Hijlory. ' 
 DIED 1559, AGED 62. 
 
 He was born at Florence, in 1497, and was a difciple of Giovanni Francefco Ruftico, 
 a good fculptor. He regularly proceeded through all the ftudies requifite to form a 
 painter; but his pictures were never approved of, as his colouring was hard, dry, and 
 difagreeable, his compofition but indifferent, and a bad choice of attitudes afforded 
 rather a difguft to the beholder, than any degree of fatisfa&ion. Yet his works were 
 much more efteemed after his death than they ever were during his life. 
 
 He envied Michael Angelo Buonaroti, and imitated him in his extravagant expreflions, 
 not in his excellencies, without reflecting that it is inexcufable to imitate the defects 
 even of the greateft men. But he was fo difcouraged by hearing that his works were 
 treated contemptuoully by Michael Angelo, who condemned his colouring as being hard 
 and unpleafant, that he laid afide the pencil, and never would ufe it after. 
 
 He was not without fkill and merit as a ftatuary, and in that art he deemed himfelf equal 
 to Buonaroti ; but he felt a fenfible mortification, when he perceived the world not to be 
 inclined to concur with him in the fame opinion. 
 
 John BAPTIST, Monnoyer. 
 Painted Flowers and Fruit. 
 
 DIED 1699, AGED 64. 
 
 This mafter was born at Lifle, in 1635, and educated at Antwerp, where he perfected 
 himfelf in the knowledge of his art, and in his firft years was intended for a painter of 
 hiftory ; but having foon obferved, that his genius more ftrongly inclined him to the 
 painting of flowers, he applied his talents to thofe fubjects, and in that ftyle became one 
 of the greateft mafters. 
 
 His pictures are not fo exquifitely finifhed as thofe of Van Huyfum, but his 
 compofition and colouring are in a bolder ftyle. His flowers have generally a remarkable 
 
 G freedom 
 
BAP 
 
 [ 38 ] 
 
 BAR 
 
 freedom and loofenefs, as well in the difpofition as in the penciling ; together with a 
 tone of colouring that is lively, admirable, and nature itfelf. The difpofition of his 
 objects is furprifingly elegant and beautiful ; and in that refpect his compofitions are 
 eafily known, and as eaftly diftinguifhed from the performances of others. 
 
 The Duke of Montague, while AmbafTador in France, invited Baptift to England, 
 and employed him, in conjunction with La FofTe and RoufTeau, to embellifh Montague- 
 Houfe, which is now the Britifh Mufcum, the repofitory of many curiofities of nature 
 and art, and the repofitory alfo of fome of the fineft performances of Baptift. 
 
 A very celebrated work of this artift is a looking-glafs preferved in the Royal Palace 
 at Kenfington, which he decorated with a garland of flowers, for Queen Mary II. and" 
 what is very remarkable, her Majefty fat by him during the greateft part of the time 
 that he was employed in painting it. 
 
 For the Duke of Ormond, he painted fix pictures of Eaft-Indian birds after nature, 
 which were in that nobleman's collection at Kilkenny in Ireland, and are at prefent in 
 the poflefiion of the author of this book ; they are painted in water-colours on vellum, 
 and nothing can be more delicate in the colouring, the penciling, or the fpirited expreffion 
 of every fpecies. He had a fon, 
 
 Anthony BAPTIST, 
 
 Who painted flowers, and, in the ftyle and manner of his father, fhewed an abundance 
 of merit. 
 
 John BAPTIST, Caspars. 
 
 Painted Hijiory and Portrait, 
 
 DIED 169I, AGED 
 
 He was born at Antwerp, and was a difciple of Thomas Willeborts Bofchaert, 
 During the civil war he went to England, and entered into the fervice of General 
 Lambert j but after the Reftoration he wa& engaged by Sir Peter Lely, to paint the 
 poftures and draperies of his portraits, and was diftinguifhed by the name of Lely's 
 Baptift. Kneller alfo, and Riley, employed him for the fame purpofe. 
 
 He made defigns for tapeftry, which were accounted good; and his drawing was 
 generally correft. In the hall of St. Bartholomew's Hofpital, there is a portrait of King 
 Charles II. painted by this mafter. 
 
 Bernardino BARBATELLI, called Pochetti. 
 Painted Hijiory^ Fruity Animals^ and Flowers. 
 
 DIED l6l2, AGED 70. 
 
 He was the difciple of Ridolfo Ghirlandaio at Florence; from whofe fchool he went to 
 Rome, and ftwdied there with fuch uncommon aifiduity, that he was frequently fo abftracted, 
 
 2 and 
 
BAR 
 
 £ 39 3 
 
 BAR 
 
 and fo abfolutely engrofled by the objects of his contemplations, as to forget the neceflary 
 refrefhments of fleep and food. 
 
 He was excellent in painting every fpecies of animals, fruit, or flowers j and in thofe 
 fubjects not only imitated, but equalled nature. His touch was free, light, and delicate, 
 and the colouring of his objects inexpreffibly true ; and befide his merit in his moft ufual 
 ftyle of painting, the hiftorical fubjects which he defigned, from facred or profane 
 authors, were much efteemed and admired. He was born at Florence, in 1542. 
 
 Giovanni France sco BARBIERI, called Guercino da Cento. 
 
 Painted Hi/lory. 
 died 1666, aged 76. 
 
 He was born at Cento, a village not far from Bologna, in 1590, and at firft was the 
 difciple of Benedetto Gennari j but he afterwards ftudied for fome time in the fchool of 
 the Caracci, though he did not adopt the manner of that famous Academy. 
 
 He feemed to prefer the ftyle of Caravaggio to that of Guido or Albano, imagining 
 it impoflible to imitate nature truly, without the afliftance of ftrong lights and ftrong 
 fhadows ; and from that principle, his light was admitted into his painting room frpm 
 above. It is certain that, by the oppofition of his ftrong lights and ftiadows, he gave 
 fuch force to his pictures, that few, except thofe of Caravaggio, can ftand near them, 
 and not feem feeble in their effect : however, that manner is not like nature, becaufe it 
 makes objects appear as if they were feen by candle-light, or by the brightnefs of a 
 fun-beam, which alone can juftify the deepnefs of his fhadowing. 
 
 The principal attention of Guercino was certainly fixed on arriving at perfection in 
 colouring: he faw the aftonifliing effects produced by the colouring of the celebrated 
 Venetian maftersj and obferved, that notwithstanding any imperfections in regard to 
 grace, correctnefs, or elegance, the works of thofe matters were the objects of univerfal 
 admiration. From which obfervation, he feems to have devoted his whole ftudy to excel 
 in . colouring} as if he were convinced .that few are qualified to difcern the elevation of 
 thought which conftitutes the excellence of a compofition : few may be touched with the 
 grandeur or beauty of the defign, or perhaps have a capacity to examine even the 
 correctnefs of any part of a painting; and yet every eye, and even every imperfect 
 judge of a picture, may be fenfibly affeaed by the force and beauty of the colouring. 
 
 His tafte of defign was natural, eafy, and often grand, but without any extraordinary 
 lhare of elevation, correctnefs, or elegance. The airs of his heads often want dignity, 
 and his local colours want truth. However, there is great union and harmony in his 
 colours, although his carnations are not very frefh j and in all his works there is a 
 powerful and expreflive imitation of life, which will for ever render them eftimable. 
 
 Towards the decline of his life, he obferved that the clearer and brighter ftyle of 
 Guido and Albano had attrafted the admiration of all Europe, and therefore he altered 
 
 G 2 hi? 
 
BAR 
 
 [ 40 3 
 
 BAR 
 
 his manner, even againff. his judgment. But he apologized for that condudt, by declaring 
 that in his former time he painted for fame, and to pleafe the judicious ; and he now 
 painted to pleafe the ignorant, and enrich himfelf. 
 
 A very beautiful pidture by Guercino, is to be feen at Siena, perfectly well preferved; 
 and the fubject of it is Hagar, the Angel, and Ifhmael. The head of the female figure 
 is rather too fmall, but the linen has a furpriling brilliancy. The figure of Ifhmael is 
 not fufficiently determined, conlidering his fituation ; yet the whole together has a fine 
 efFect. But the moll capital performance of Guercino, is the hiftory of St. Petronilla, 
 which is confidered as one of the ornaments of St. Peter's at Rome. 
 
 Paulo Antonio BARBIERI, da Cento. 
 Painted Still Life, and Animals* 
 DIED 164O, AGED 44. 
 
 He was the brother of Guercino, born at Cento, in 1596; and chofe for his fubjedts 
 fruit, flowers, infects, and animals ; which he painted after nature, with a lively tint 
 of colour, with great tendernefs of pencil, and a ftrong character of truth and life. 
 
 Dieterick BARENT. 
 Painted Hi/lory and Portrait, 
 
 DIED 1582, AGED 48. 
 
 This ar till was born at Amfterdam, in 1534; and having received fome inftrudtion 
 from his father, who was but an ordinary painter, he travelled to Venice, was admitted 
 into the fchool of Titian, and became the favourite difciple of that inimitable mafter. 
 
 He continued with Titian for feveral years ; he alfo painted a portrait of him, which 
 gained him a great reputation; and with extraordinary fuccefs imitated the touch, the 
 the manner, and the ftyle of colouring, peculiar to that accomplished genius. 
 
 When he returned to his own country, bufinefs crowded in upon him; and every work 
 jfinifhed, added ftill to his credit and honour ; but the compofition which moft effectually 
 eftablifhed his fame, was the pidture reprefenting the fall of Lucifer, which contained a 
 number of figures, naked, well contrafted, and excellently coloured. 
 
 Francis BARLOW. 
 Painted Birds, Beajls, and Fijh* 
 
 DIED 1702, AGED 
 
 He was born in Lincolnshire, and bred to the profeffion of painting, under Sheppard, 
 a portrai t- painter ; but his genius led him entirely to defign after nature, birds, fifh, and 
 
 every 
 
BAR 
 
 C 4i ] 
 
 BAR 
 
 every fpecies of animals, which he drew with great exactnefs. He underftood colouring 
 very imperfectly, which defect was probably occafioned by the unfkilfulnefs of the 
 mafter who had been his inftrudtor. But it is generally agreed, that if his penciling and 
 colouring had proved equal to the correctnefs of his defign, he might have fhewn himfelf 
 fuperior to any of his time in thofe fubjects. 
 
 Frederick BAROCCIO. 
 Painted Hijiory and Portrait. 
 
 DIED l6l2, AGED 84. 
 
 He was born at Urbino, in 1528, and was the difciple of Battifta Venetiano, by 
 whom he was carefully inftructed in the principles of painting, but he derived his 
 knowledge of perfpective from his uncle Bartolomeo Genga. Under thofe preceptors 
 he practifed affiduoufly, till he was in his twentieth year j and he then vifited Rome, 
 where he purfued his ftudies inceffantly, and proved one of the moft graceful painters of 
 his time. 
 
 At his return to his native city Urbino, he painted feveral pictures which procured 
 him great applaufei but the picture of a St. Margaret raifed his reputation to the 
 higheft pitch, and induced Pope Pius IV. to invite him to Rome, where he employed 
 him in the decorations of his Palace of Belvedere, in conjunction with Federigo 
 Zucchero. 
 
 He excelled equally in hiftory and portrait, but his genius inclined him more 
 particularly to the painting of religious fubjects ; and his works fufficiently evince, that 
 the utmoft of his ambition was to imitate Correggio in his colouring, and Raphael in 
 his manner of defigning. But Correggio has fomewhat fo natural, fo grand, fo 
 unaffectedly graceful, that Baroccio was far inferior to him, although perhaps rather 
 more correct in the outlines. However, it is ea r y to obferve, that he endeavoured to 
 refemble that illuftrious artift in the fweetnefs of his tints, in the harmony of his 
 colouring, in the graceful airs of the heads, in the difpofition of his draperies, and 
 the forms of his Bambino's, though he was fometimes apt to exprefs the mufcular 
 parts of the human body too ftrong. He rarely painted any hiftorical figure without 
 having either modelled it in wax or placed fome of his difciples in fuch attitudes ?s 
 he wifhed to reprefent j his fifter was his model for the Madonnas, and her child for 
 his Bambino's. 
 
 In moft of the works of Baroccio, it is not difficult to perceive who were his 
 favourite mafters ; and he feems to have lefs of an original in him > than moft of the 
 principal painters. A judicious eye may readily trace out Raphael in the outlines and 
 attitudes of his figures; and the tints of Correggio are as eafily obfervable in his colouring. 
 
 In a church at Ravenna, a noble picture of this mailer's hand is ftill preferved, 
 reprefenting the death of St. Vitalis ; and, though the fubject be unfavorable, yet it 
 is executed in fuch a mannar, as to do honour to the Saint as well as to the painter. — 
 
 The 
 
BAR 
 
 t 42 ] 
 
 BAR 
 
 The defign is correct, the figures are graceful to an high degree and there is an elegance 
 in the whole, which conceals the poverty of the fubject. 
 
 B ARTE LEMI DI S. MARCO. Vid. Baccio. 
 BARTOLET. Vid. Fiameel. 
 
 Bartolomeo da BAGNACAVALLO. 
 
 Painted Hijlory. 
 
 DIED AGED 58. 
 
 He was born at Bologna, where he was inftructed in the art of painting, by fome artifts 
 of that city j but particularly he imitated the manner of Girolamo da Codignuola. 
 
 When he had" made a tolerable progrefs, he went to Rome, to perfect himfelf in the 
 knowledge of his profeiiton 3 by feeing the works of Raphael ; and he was engaged by 
 that great man, as one of the young artifts who were to affift him in his extenfive 
 undertakings, But his execution did not prove equal to what was expected from that 
 promifing appearance which was obferved in his performances at Bologna j though he 
 acquired fo much credit, as to be allowed to have a very agreeable and firm manner of 
 defigning, and a ready invention. 
 
 BARTOLOMEO. Vid. Breenberg. 
 
 Giacomo BASS AN. 
 Painted Hijlory, Cattle, Landfcape, and Portrait. 
 
 DIED 1592, AGED 82. 
 
 This celebrated painter's real name was Giacomo da Ponte ; but he was called Baflan, 
 from the town of BafTano on the river Brenta, where he was born in 1 510. 
 
 He was the difciple of Bonifacio j but his greater!: improvement was derived from 
 ftudying and copying the works of Titian and Parmigiano, at Venice. When he had 
 completed his ftudies, he formed a ftyle that differed from both thofe mafters, and, guided 
 by his own genius, aflumed a peculiar manner of colouring and defigning, copying all 
 his objects from nature. 
 
 His fubjedls, generally, were peafants and villagers, bufy at their different rural 
 occupations, according to the various feafons of the year; cattle, landfcapes, and hiftorical 
 defigns; and in all thofe fubjetSts, the figures were well defigned; and the animals and 
 landfcapes have an agreeable refemblance of iimple nature. 
 
 His compofitions cannot boaft of much elegance, or grandeur of tafte, not even thofe 
 which are hiftorical ; but they have abundance of force and truth. His local colours are 
 very well obferved j his carnations are frefh and brilliant; and the Chiaro-Scuro and 
 
 perfpeclivc 
 
B AS 
 
 [ 43 I 
 
 B A S 
 
 perfpective well underftood. His touch is free and fpirited; and the diftances in his 
 landfcapes are always true, if not fometimes too dark in the nearer parts. 
 
 He feems induftrioufly to avoid the naked in his figures, and frequently hid the 
 extremities by draperies; which would make it probable, that he was confcious of wanting 
 a competent (kill to exprefs thofe parts beautifully. Yet, in fome of his pictures, where 
 the extremities are vifible, they are excellent; fo that, perhaps he only avoided them for 
 expedition. 
 
 Although BafTan had, inconteftably, many excellencies, yet it muft be confeffed that 
 he wanted correctnefs in his drawing; and his draperies are without any variety, feeming 
 to be taken merely from the mode of his time, and his country. 
 
 His works are more readily known than thofe of moft other painters ; from the 
 fimilitude of characters and countenances in the figures and animals ; from the tafte in 
 the buildings, utenfils and draperies; and befide, from a violet or purple tint, that 
 predominates in every one of his pictures. But the genuine pictures of his hand are 
 not fo eafily afcertained; becaufe he frequently repeated the fame defign, and his fons were 
 moftly employed in copying the works of their father, which he fometimes retouched. 
 
 As he lived. to be very old, he finiihed a great number of pictures; yet notwithstanding 
 his application and years, the real pictures of Giacomo are not commonly met with. — 
 Many of thofe which are called originals, by purchafers, as well as dealers, being at beft 
 no more than copies by the fons of BafTan, who were far inferior to him, or perhaps by 
 fome painter, of ftill meaner abilities. But the true pictures of Giacomo always bear a 
 confiderable price, if they happen to be undamaged. 
 
 Francesco BASSAN. 
 Painted Hi/lory^ Landfcape^ and Cattle. 
 
 DIED I594, AGED 44. 
 
 He was the eldeft of the fons of Giacomo, born in 1550, and he painted entirely in the 
 ftyle and manner of his father, to whom he proved very little inferior, if not almoft 
 his equal. 
 
 He furpafled his brothers by many degrees, in defigning, drawing and colouring; and 
 was employed in the church of St. Mark at Venice, in conjunction with Tintoretto, and 
 Paolo Veronefe. This artift was always of a melancholy difpofition, which he was too 
 apt to indulge; and that unhappy diforder of his mind was fo much increafed by his 
 inceflant application, that in a violent frenzy he threw himfelf out of a window, which 
 put an end to his life. 
 
 Leandro BASSAN, Cava mere. 
 Painted Hijiory and Portrait. 
 
 DIED 1623, AGED 65. 
 
 This mafter was another fon of Giacomo, born in 1 558, and painted in the fame ftyle 
 and manner as his father and brother, but was not comparable to either ; as he neither 
 
 gave 
 
B A S 
 
 C 44 ] 
 
 B A U 
 
 gave the force nor the cleamefs to his pictures, which might be feen in the works of the 
 others. However he excelled in portrait, and therefore made jt his chief employment. 
 
 In Venice, where he conftantly lived, he painted many hiftorical fubje&s, which are in 
 the chapels and convents of that city; but the portrait of the Doge Grimani, for which 
 he received the honour of knighthood, and thofe of the nobleft perfonages, who either 
 refided in Venice, or vifited that city in his time, are wonderfully admired. 
 
 Giovanni Battista BASSAN. 
 
 Painted Copies after Giacomo and Francefco. 
 DIED 1613, AGED 60. 
 
 This painter, and his younger brother Girolamo, were difciples of their father ; but 
 neither of them arrived at any degree of higher eminence, than that of being good 
 copyifts of the works of their brother and father; though many of their copies are taken 
 for originals at this day. He was born in 1553. 
 
 Girolamo BASSAN. 
 Painted the fame fubjeSts as Giovanni Battijla. 
 
 DISD l622, AGED 62. 
 
 He was at firft educated for the profeffion of phyfic, but quitted it very foon for that 
 of painting, though his only merit was copying the works of his father and eldefl: brother. 
 He was born in 1560. 
 
 John William BAUR, or Bawr, and Bouwer. 
 Painted Landfcapes and Architecture. 
 
 DIED 164O, AGED 30. 
 
 He was born at Strafburg, in 1610, and was a difciple of Frederick Brendel. He had 
 an enlarged genius, but the livelinefs of his imagination hindered him from ftudying 
 beautiful nature, or the antique, in fuch a manner as to diveft himfelf of his German 
 tafte, though he went to Rome to improve himfelf in the art. 
 
 In Italy, he applied himfelf entirely to architecture, as far as it might contribute to the 
 enrichment of his landfcapes, which were his favourite fubje&s; and for his fcenes and 
 fituations he ftudied after the rich profpecls about Frefcati and Tivoli, which could 
 afford him the moft delightful fites, views, and incidents. 
 
 He was fond of introducing into his defign-c, battles, marchings of the army, ikirmifhes, 
 and proceffions; but although he refided, for a confiderable length of time, in and about 
 Naples and Rome, yet ftill he retained the German gout in all his figures; he never 
 arrived at a grandeur of defign; nor could ever exprefs the naked but indifferently. It 
 muft however be faid in his commendation, that his pencil was light, his compofition was 
 good, and his general expreflion was beautiful, though his figures were fomewhat heavy. 
 
 He 
 
B E A 
 
 f 45 3 
 
 BEC 
 
 He painted in water-colours on vellum, and was for feveral years in the court of the 
 Duke Bracciano, for whom he finimed fome charming perfpective views of gardens, 
 with ftatues and fountains ; alfo, of other elegant buildings, with a great number of 
 figures, coaches, cattle, and horfemen ; and it was remarkable, that he generally diftin- 
 guifhed the different nations of people by the national drefs of each. 
 
 Mary BEAL. 
 Painted Portrait. 
 
 DIED 1697, AGED 65. 
 
 She was born in Suffolk, in 1632, and had for her inftructor in the art of painting, Sir 
 Peter Lely. She drew after the life, and proved very little inferiof to any of her 
 cotemporaries. 
 
 Her colouring was clear and ftrong, with a great look of nature, and fhe worked with 
 a good body of colours. She had applied herfelf to copy fome pictures of the Italian 
 matters, which fhe procured from the cabinets of noblemen, and alfo from the collection of 
 Sir Peter, by which her tafte and her pencil were much improved, and her portraits had 
 a great deal of the Italian air and ftyle. She was amiable in her conduct, and exceedingly 
 afliduous in her profeflion ; and had the happinefs to live in univerfal efteem, and to receive 
 all poflible encouragement. [ 
 
 Domenico BECCAFUMI, called Mjcarino, and Mecherino. 
 
 Painted Hi/lory. 
 
 DIED 1549, AGED 65. 
 
 He was born at Siena, in 1484, and at firft was a difciple of an ordinarv painter called 
 Cavanna; but afterwards received inftructions (as fome writers affirm) from Pietro 
 Perugino. 
 
 The more he advanced in the knowledge of his art, he the more evidently perceived 
 that he only loft his time by continuing at Siena; and the univerfal applaufe given to 
 the works of Raphael, and Michael Angelo Buonaroti, excited in him an eager ambition 
 to fee them. He therefore travelled from his native city to Rome, to ftudy the works 
 of thofe celebrated matters ; and fpent two years in clofe application, exerting himfelf 
 not only to copy their works with careful exactnefs, but alfo in defigning the moft 
 curious antique ftatues and edifices. 
 
 When his genius had been, by that courfe of ftudy, happily improved, and his hand 
 well formed, he returned to Siena, where he was immediately engaged in feveral 
 confiderable works, not only in oil, but alfo in diftemper and frefco, which procured him 
 reputation and honour. He had a fine invention; his tafte of defign was truly elegant; 
 his expreflion was commendably good; and his tone of colouring beautiful. 
 
 H A great 
 
 A 
 
B E; C 
 
 [' 46 ] 
 
 B EC 
 
 A great number of the works of this matter, in frefco, oil,, and diftemper, are particufarly 
 defcribed by Vafari, torn. 1. page 373. 
 
 David BECK. 
 Painted Portrait. 
 
 DIED 1656, AGED 35. 
 
 He was born at Arnheim in Guelderland, in 1621, and became a difciple of Vandyck;. 
 from whom he acquired a fine manner of penciling, and that fweet ftyle of colouring 
 which is peculiar to that great mailer, and to all the difciples trained up under his 
 direction. He poffelTed, befides, that freedom of hand and readinefs,. or rather rapidity of 
 execution, for which Vandyck was fo remarkably famous ; and King Charles the Firft, 
 when he obferved the expeditious manner of Beck's painting, was fo exceedingly furprifed, 
 that he told Beck, it was his opinion he could paint if he was riding poft. 
 
 He was appointed portrait-painter and chamberlain to Queen Chriftina of Sweden ; and, 
 by her recommendation, moft of the illuftrious perfons in Europe fat to him for their 
 pictures. 
 
 lie tKas agreeable,, handfome, and polite, and lived in the higheft favour with his 
 royal miftrefs; but, having an earneft defire to vifit his friends in Holland, and leaving 
 the Court of Sweden much againft the Queen's inclination, fhe apprehended that he 
 intended never to return; and, as he died foon after at the Hague, it was ftrongly and 
 generally fufpedled that he was poifoned.. 
 
 A very fmgular adventure happened to this painter, as he travelled through Germany, 
 which feems not unworthy of being recited. 
 
 He was fuddenly and violently taken ill, at the inn where he lodged, and was laid out 
 as a corpfe, feeming to all appearance quite dead. His valets expreffed the ftrorfgteft marks 
 of grief for the lofs of their mafter; and while they fat befide his bed, they drank very 
 freely, by way of confolation. 
 
 At laft one of them, who grew much intoxicated, faid to his companions, Our mafter 
 was fond of his glafs while he was alive; and out of gratitude, let us give him a glafs now 
 he is dead. As the reft of the fervants aflented to the propofal, he raifed up the head of 
 his mafter, and endeavoured to pour fome of the liquor into his mouth. By the fragrance 
 of the wine, or probably by a fmall quantity that imperceptibly got down his throat, 
 Beck opened his eyes ; and the fervant being exceffively drunk, and forgetting that his 
 mafter was confidered as dead, compelled him to fwallow what wine remained in the glafs. 
 
 The painter gradually revived, and by proper management and care recovered perfectly, 
 and efcaped an interment. 
 
 How highly the works of this mafter were efteemed, may appear, from the many marks 
 of diftindtion and honour which were fhewn him; for he received from different Princes, 
 as an acknowledgment of his fmgular merit, nine gold chains, and feveral medals of 
 gold of a large fize. 
 
 Cornelius 
 
BEG 
 
 C 47 ] 
 
 BEG 
 
 Cornelius BEG A. 
 
 Painted Land/cape, Cattle, and Converfations. 
 
 DIED 1664, AGED 44. 
 
 He was born at Haerlem, in 1620, and was the difciple of Adrian Oftade. He 
 fhewed a ftridt attention to every precept of his mafter, obferving his handling, as well 
 as his manner of preparing and blending his colours, with great accuracy ; and took 
 inceffant pains to improve himfelf in the knowledge and practice of his art, till at laft 
 he became the beft difciple of that fchool, and foon gave public proofs of his being a 
 confiderable painter. 
 
 He fet out in his profeflion with credit, and proceeded in it for fome years with 
 fufficient fuccefs ; but he grew too fond of a diflipated life, and at laft. his morals were 
 fo depraved, that his father, after many ineffectual remonftrances, difowned him. For 
 which reafon he caft off his father's name, which was Begeyn, and affumed that of 
 Bega; his early pictures being marked with the former, and his latter works with the 
 other. 
 
 He had a fine pencil, and a delicate manner of handling his colours, fo as to give 
 them a look of neatnefs and tranfparence ; and his performances are fo much efteemed 
 in the Low Countries, as to be placed among the works of the beft artifts. 
 
 He took the plague from a woman with whom he was deeply enamoured; and he 
 fhewed fo much fmcerity of affection, that, notwithftanding the expoftulations of all his 
 friends and phyficians, he would attend her to the laft moments of her life, and imbibed 
 from her the fame fatal diftemper, of which he died in a few days after her. 
 
 A b r a]h am BEGEYN. 
 Painted Landscape, 
 born in 1650. 
 
 Neither Houbraken nor Sandrart have mentioned any thing relative to the mafter 
 under whom Begeyn was inftructed in the art of painting ; but after he had made a 
 competent progrefs, he ftudied perfpective and architecture, to qualify himfelf more 
 effectually for his profeffion, and perfected himfelf in the knowledge of both. 
 
 His reputation procured him an invitation to the Prufiian Court, where he had the 
 honour of being appointed principal painter to the King, and was directed to paint the 
 views of the Royal Palaces, and the moft agreeable profpects of that country, which he 
 executed extremely to the fatisfaction of the King and his whole Court; and he likewife 
 finifhed feveral large deligns for the decoration of the grand falons and galleries at 
 Berlin. 
 
 His figures and animals are, in general, well defigned and pleafingly coloured, 
 touched with great freedom, and much in the manner of Berchem. Some capital pictures 
 
 H 2 of 
 
B E I 
 
 C 48 J 
 
 BEX 
 
 of this mafter* are to be feen at the Hague, which are very highly efteemed } they arc 
 landfcapes, with views of rivers, ruins,, and pieces of architecture, enriched with figures* 
 and a variety of animals, finifhed in a mafterly manner. 
 
 Joachim Francis BEISCH. 
 Painted Landfcapes and Battles. 
 
 DIED I748, AGED 83. 
 
 He was born at Ravenfburg in Swabia, in 1665, and was taught the firft rudiments 
 of the art by his father, who practifed painting only for his amufement, and explained - 
 to his fon the principles of it. 
 
 By the force of his own genius, and an affiduous practice for fome years, he at laft. 
 proved a good artift, and was employed at the Court of Munich ; particularly, he was 
 appointed to paint the battles which the Elector Maximilian Emanuel fought in Hungary.. 
 
 While the Elector was abfent on fome of his expeditions, Beifch embraced that 
 opportunity to vifit Italy, and took the moft effectual methods for his improvement, by 
 ftudying and copying thofe famous models which have defervedly been the admiration of 
 all artifts, and indeed of the whole world. And it may be a iufhcient teftimony of the 
 perfection to which this matter arrived, only to fay, that even Solimena copied feveral 
 of his landfcapes. 
 
 He had three different manners : his firft, before his journey to Italy, was true, but 
 too dark ; his fecond had more clearnefs, and more truth j, and his laft was more clear, 
 but more weak. 
 
 The fcenes of his landfcapes are agreeably chofen, and very picturefque j. his touch is 
 light, tender, and full of fpirit; and his ftyle of compofition frequently refembled that of 
 Gafpar Pouffin, or Salvator Rofa. 
 
 Giovanni Battista BEINASCHI, called Cavalier Beinaschi, 
 
 Painted Hi/lory. 
 
 DIED l688, AGED 54. 
 
 This mafter was a Piedmontefe, born in 1634, who ftudied in Rome, under the 
 direction of Pietro del Po; and fome authors affirm, that he was afterwards the difciple 
 of Lanfranc. But it is certain that he was peculiarly fond of the works of Lanfranc, 
 and devoted his whole thought and application to defign after them, and to copy them j. 
 till at laft he became fo thoroughly acquainted with the ftyle, manner, and touch of that 
 excellent mafter^ that many of the pictures of Beinafchi are, at this day, accounted the 
 work of Lanfranc's own hand. 
 
 He was an admirable defigner : his lively invention furnifhed him with a furprifing 
 variety j his thought was noble ; he was not only expeditious, but correct j and as a public 
 acknowledgment of his merit, the honour of knighthood was conferred upon him. 
 
 BEL- 
 
H E L 
 
 C 49 ] 
 
 BEL 
 
 BELLEVOIS. 
 
 Painted Sea-Pieces. 
 DIED 1684, AGED 
 
 Except the defcription and commendation of the works of this artift, I find nothing 
 mentioned by the writers on this fubjecT:, relative to the place of his birth, his education, 
 or the year of his nativity; but he is known through all parts of Europe as a good 
 painter. 
 
 His fubjects are views of havens, fea-ports, mores, calms, and ftorms at fea; but 
 in his calms he (hews his peculiar excellence. His veffels are defigned after nature, 
 they are neatly handled, and correctly drawn ; yet they want that grace and elegance 
 which are always obfervable in the vefTels of the younger Vandervelde and Backhuyfen.. 
 
 His touch is light, and his colouring clear ; the perfpe&ive of his fea-ports and 
 buildings is true, and has an agreeable effecl:; his Ikies are generally bright, and 
 judicioufly managed, and his colouring is tranfparent. His figures are, indeed, but 
 indifferent, nor have they much exprefiion. 
 
 Pictures of this mafter are often in public fales, and fome of them, which feem of his 
 beft ftyle, are fold for a tolerable price. 
 
 Giacomo BELLINI. 
 Painted Hi/lory and Portrait. 
 
 DIED I47O, AGED" 
 
 He was born at Venice, and learned the art of painting from Gentile da Fabrino j 
 but he proved no extraordinary artift. The fecret of painting in oil was communicated 
 to him by Domenico and Andrea del Caftagno; and that important difcovery he explained 
 to his fons Gentile and Giovanni, who had fufficient fkill to apply it in fuch a manner, 
 as to make them confiderable in their time, and memorable by pofterity. 
 
 The reputation of this ancient mafter was eftabliftied by the portraits he painted of 
 Cornaro, and of the Quean of Cyprus. 
 
 Gentile BELLINI. 
 
 Painted Hijlory and Portrait. 
 
 DIED 1501, AGED 80. 
 
 He was ths eldeft fon of Giacomo Bellini, born at Venice, in 1421, and inftructed 
 by his father in the art of painting in diftemper as well as in oil. He was accounted 
 the moft knowing of any artift in his time, and was employed by the Doge to paint the 
 hall of the Great Council j and for others of the Nobility he executed feveral noble 
 works. 
 
 His 
 
BEL C 50 1 B E L 
 
 His reputation was at that time fo extenfive, that it reached to the * Ottoman Court; 
 and the Emperor Mahomet II. having feen fome of his performances, invited him to 
 Constantinople, received him with great refpect, fat to him for his portrait, and engaged 
 him there for fome time, giving him many rich prefents and many marks of his regard. 
 
 But the Emperor having ordered the head of a flave to be cut off before the face of 
 Gentile, to convince him of an incorrectnefs in a picture of the Decollation of St. John, 
 he was fo affected, fo terrified at the fight, that he never enjoyed peace of mind till he 
 obtained leave to return to his own country. 
 
 Mahomet, to do him honour, put a gold chain about his neck, and wrote to the 
 Senate of Venice in his favour, which at his return procured him a penfion for life, and 
 the honourable diftinction of the order of St. Mark. 
 
 Vafari mentions a fea-fight, painted by this matter, which had extraordinary merit, 
 in the variety of the figures, the truth of the expreffions, the great propriety of the 
 attitudes, the perfpective diftances of the veflels, and the grandeur of the compofition. 
 
 Giovanni BELLINI. 
 Painted Portrait and Hiflory. 
 
 DIED 1512, AGED 90. 
 
 He was born at Venice, in 1422, the fon of Giacomo, and the brother of Gentile 
 Bellini, but furpaffed them both, in every branch of the art; and is accounted the founder 
 of the Venetian fchool, by introducing the practice of painting in oil, and teaching his 
 difciples to paint after nature. 
 
 His manner of defigning was but indifferent, and frequently in a bad tafte ; and before 
 he knew how to manage oil-colours, his painting appeared dry ; Dut afterwards he 
 acquired more foftnefs in his penciling, fhewed.a much greater propriety of colours, and 
 had fomewhat of harmony, though ftill he retained too much of what appeared dry 
 and hard ; but the airs of his heads were in a better tafte than thofe of either Giacomo 
 or Gentile. 
 
 The fchool of Giovanni Bellini produced two memorable difciples, Titian and 
 Giorgione, who brought the art of colouring to its higheft perfection ; and by obferving 
 the works of thofe famous artifts, Bellini improved his own manner very confiderably, 
 fo that in his latter pictures the colouring is much better, and the airs of his heads are 
 noble, although his defign is a Jittle gothic, and his attitudes not well chofen. 
 
 Pietro 
 
 * De Piles and other writers reprefent the tranfacYion of Gentile at Conftantinople, agreeable to what is re'ated 
 above; but Vafari fays that Mahomet 11. had feen fome of the works of Giovanni Bellini, which he admired exceedingly, 
 and defired that the painter of thofe pictures might be feiu to him from Venice 5 but that the Senate prevailed on Gemiie 
 to go in the ftead of Giovanni, as he was then engaged in a large work, and the Doge was unwilling to deprive his 
 country of fo famous an artiftj Giovanni being eileemed the beft painter, not only of his own family, who were all 
 painters, but the ableft artift of his time. The circumftar.ee of beheading the flave is not neitioncd by Vafari, as far as 
 I have obferved, 
 
BEL 
 
 T 5i ] 
 
 BEM 
 
 Pietro BELLOTTI. 
 Painted Hijlory and Portrait. 
 
 DIED I7OO, AGED 75. 
 
 He was born at Venice, in 1625, and was placed as a difciple with Michael Forabofco 
 of that city, from whom he learned the art of colouring. He became a portrait-painter 
 of the firft rank, but in the compofition of hiftorical fubjedts he was not fo eminent. 
 
 He was peculiarly happy in the imitation of nature, and was mafter of elegancy in his 
 art. The colouring of his portraits appears to be real flefh, the variety in the airs of 
 his heads is inconceivable \ in all his attitudes there is a great deal of grace, and the 
 difpofition of his figures is becoming and natural. 
 
 Antonio BELLUCCL 
 Painted Portrait and Hijiory. 
 born in 1654. 
 
 He was born at Venice j and having ftiewn a ftrong inclination to the profeflion of 
 painting from his moft early years, he became the difciple of Domenico Definico, 
 under whom he learned a good manner of handling and colouring, an elegant tafte 
 of hiftorical compofition, and an -expertnefs in painting portraits with grace and 
 refemblance. 
 
 When he commenced artift his performances procured him a general commendation 
 for their invention, elegance, and fpiritj and he found immediate employment for 
 cabinet pictures and altar-pieces, and alfo for portraits, in which he preferved the 
 character of his models with an agreeable truth. 
 
 The Emperor Jofeph held him in fuch efteem that he invited him to his Court, and 
 not only fat to him for his portrait, but appointed him his principal painter. But after 
 a continuance for fome years in that ftation at Vienna, he obtained permimon to retire, 
 and then entered into the fervice of the Prince Palatine, where he lived for a great length 
 of time, refpe&ed for his perfonal accomplifhments, as well as for his excellence in his 
 profeflion. 
 
 William Van BEMMEL. 
 
 Painted Land/capes* 
 
 DIED I7O3, AGED 73. 
 
 He was born at Utrecht, in 1630, and was a difciple of Herman Sachtleven. For 
 the improvement of his tafte and knowledge he vifited Rome, and (ketched every 
 beautiful fcene that occured to him as he travelled, or that pleafed his imagination in. 
 
 the 
 
B E N 
 
 I 5* ] 
 
 B E R 
 
 ■the neighbourhood of Rome, and particularly about Tivoli, by which means he furnimeu 
 himfelf with excellent materials for his future compofitions. 
 
 His colouring is lively and natural, if not fometimes a little too green j but his 
 figures, and the boats, barges, and other veflels, which he always introduces on the 
 rivers, or ftationed near the banks, are well defigned, and touched with fpirit. His 
 trees, indeed, are fomewhat ftifF and formal ; but in general his pictures have a pleafing 
 effect, as the diftances are conducted with judgment, and every part handled in a mafterly 
 manner. The lights and fhadows of his landfcapes are diftributed with fingular Ikillj 
 and his Ikies are ufually clear, warm, and natural. 
 
 BENEDETTO. Vid. Castiglione. 
 
 John Vander BENT. 
 Painted Landfcape, 
 
 - DIED 169O, AGED 40. 
 
 He was born at Amfterdam, in 1650, and at firft was a difciple of Adrian Vandervelde^ 
 but afterwards of Philip Wouwermans, whofe ftyle he always - imitated, as well in the 
 choice of his fcenes and fubjects, as in his pencil and tints of colour. 
 
 His paintings are much efteemed in the Low Countries, and the public feemed to have 
 high expectations of a ftill greater improvement in his fubfequent works ; but by the 
 lofs of four thoufand guilders, which were privately ftolen from him, his fpirits were 
 fo depreffed, and his constitution fo effectually broken, that he furvived that misfortune 
 only for a Ihort time, and died by an excefs of grief and perpetual vexation, univerfally 
 regretted. 
 
 Nicholas BERCHEM. 
 
 Painted .Landscapes and Cattle. 
 
 DIED 1683, AGED 59. 
 
 This charming painter was born at Haerlem, in 1624, and was taught the firft 
 principles of painting by his father, Peter Van Haerlem, an artift of very mean abilities, 
 whofe fubjects were fifh, confectionary, vafes of filver, and other objects of ftill 
 life j but he afterwards had the good fortune to have fome of the beft mafters of that 
 time for his inftructors, and fucceflively was the difciple of Grebber, Vangoyen, Mojaart, 
 Jan Wils, and Weeninx. 
 
 He had an eafy expeditious manner of painting, and an inexpreflible variety and 
 beauty in the choice of fites for his landfcapes, executing them with a furprifing degree 
 of neatnefs and truth. He poffeffed a clearnefs and ftrength of judgment, and a 
 wonderful power and eafe in expreffing his ideas; and although his fubjects were of the 
 
 5 lower 
 
B E R 
 
 i .S3 .1 
 
 B E R 
 
 lower kind, yet his choice of nature was judicious, and he gave to every fubject as much 
 of beauty and elegance as it would admit. The leafing of his trees is exquifitely and 
 Jreely touched; his fkies are clear; and his clouds float lightly, as if fupported by air. 
 
 The diftinguifhing characters of the pictures of Berchem, are the breadth and juft 
 diftribution of the lights; the grandeur of his maiTes of light and fhadow; the natural 
 eafe and fimplicity in the attitudes of his figures, exprefling their feveral characters; the 
 juft degradation of his diftances; the brilliancy and harmony, as well as the tranfparence, 
 of his colouring; the correctnefs and true perfpective of his defign; and the elegance of 
 his compofition: and, where any of thofe marks are wanting, no authority ought to be 
 fufficient to afcribe any picture to him. He painted every part of his fubjects fo 
 extremely well, as to render it difficult to determine in which he excelled moft; his trees, 
 buildings, waters, rocks, hills, cattle, and figures, being all equally admirable. 
 
 One of the moft capital pictures of this mafter was painted for the principal magiftrate 
 of Dort, in whofe family it is ftill preferved; being a profpect of a mountainous country, 
 enriched with a great variety of fheep, oxen, goats, and figures, excellently penciled, and 
 moft beautifully coloured. While he was employed in painting that picture, the fame 
 Burgomafter befpoke alfo a landfcape from John Both, and agreed to pay eight hundred 
 gilders for each picture; but tp excite an emulation, he promifed a confiderable premium, 
 for the performance which fhould be adjudged the beft. When the pictures were finifhed, 
 and placed near each other for a critical examination, there appeared fuch an equality of 
 merit in each, that he generoufly prefented both artifts with an equal fum, above the 
 price which he had ftipulated. 
 
 Berchem was Angularly curious, in purchafing the fineft prints and defigns of the 
 Italian mafters, as a means of improving his own tafte; and after his death, that collection 
 of drawings and prints fold for a very large fum. There was fuch a demand for his 
 works, that he generally was paid beforehand; and although he was fo indefatigable, that 
 very often he would not move from his eafel, in the fummer months, from four in the 
 morning till day-light failed, (by which clofe application, he finifhed a great number of 
 pictures,) yet, at this day, they are rarely to be purchafed, and always afford an 
 extraordinary high price. 
 
 Peter BERCHET. 
 Painted Hi/lory. 
 
 DIED 1720, AGED 6l. 
 
 He was born in France, in 1659, and at }he age of fifteen was placed under the care 
 of La FofTe, with whom his improvement was fo confiderable, that in three years he was 
 qualified to be employed in fome of the Royal palaces. 
 
 In the year 1681 he went to England, where he worked under Rambour, a French 
 painter of architecture; and afterwards he was engaged in different works for feveral of 
 the Englifh Nobility. 
 
 The cieling in the chapel of Trinity College, in Oxford, was painted by this mafter; 
 he alfo painted the ftaircafe at the Duke of Schomberg's in London, and the fummer-. 
 
 I * houfe 
 
B E R 
 
 f 54 3 
 
 BE R 
 
 houfe at Ranelagh. His drawings in the academy were much approved j but towards the 
 latter part of his life, he only painted fmall pieces in the hiftorical ftyle, for which the 
 fubjedts were taken from fabulous hiftory; and his laft performance was a Bacchanalian, 
 to which he affixed his name the very day before he died. 
 
 Matthys Vanden BERG. 
 Painted Portrait and Hijlory. 
 
 *DIED 1687, AGED 72. 
 
 He was born at Ypres, in 1615, was one of the difciples of Rubens, and of fome 
 diftin&ion, among thofe who were trained up in that celebrated fchool. . 
 
 He was correct in his drawing, and very afliduous in defigning after the life, and 
 likewife after the beft models \ but by his ftudying fo conftantly after nature, his 
 invention, being rarely exerted, became poor. For which reafon, though many excellent 
 copies of his, after the finiftied pictures of his matter, are to be feen in feveral parts of 
 Europe, it is uncommon to meet with any of his own defigning, or of his original 
 invention. 
 
 Dirk Vanden BERGEN. 
 
 Painted Cattle, Landscapes, and Portrait. 
 
 DIED 1689, AGED 
 
 He was born at Haerlem, and proved one of the beft difciples of Adrian Vandervelde. 
 His colouring is more glowing than that of his matter; but his cattle, and other objects, 
 are neither defigned nor drawn as corre&ly as thofe of Adrian. His trees, and his 
 tafte of landfcape, are alfo more heavy ; but, abftrael:ed from that, his cattle are frequently 
 painted very natural, and with tolerable correctnefs. 
 
 Some years of his life were fpent in England, but he was not happy enough to meet 
 with much fuccefs; on which account he returned to his native country, where, though 
 he had fufficient encouragement and employment, yet, by bad economy, he left little 
 behind him, and was buried by contribution. 
 
 Job BERKHEYDEN, or Breckberg. 
 Painted Landfcapes, Converfations, and Portraits. 
 
 fDIED 1698, AGED 6l. 
 
 He was born at Haerlem, in 1637, and ftudied after nature, on the borders of the 
 Rhine, where there is a variety of lovely fcenery, truly picturefque j and he carefully 
 
 fketched 
 
 * Weyerman, and the Chronological Tables of Painters, fix his death as above; but Defc3mps fixes it in 1647, forty 
 years fooner, which feems to be a miftake. 
 
 •f Mr. Defcamps differs greatly from other writers, in regard to Job and Gerrard Berkhe)den. He fuppofes Job to be 
 born in 1643 (the date which is marked in the margin), and fays he lived to the ?.ge of 70; yet he fixes his death in 1698, 
 
 which 
 
BER 
 
 r 55 i 
 
 BER 
 
 fketched thofe views which appeared to him fufficiently pleafing to be introduced in his 
 landfcapes. After he had made himfelf a competent matter in that ftyle, he ftudied and 
 practifed to paint figures, taking his models from nature alfo. His fubjects, however, 
 were of the loweft kind, fuch as boors, hufbandmen, (hepherds and innkeepers, with 
 which he not only furnifhed his landfcapes, but likewife reprefented them at their feafts, 
 dances, or converfations, which he compofed in the manner of David Teniers. His 
 pictures were well handled, and agreeably coloured, and fome of them were much 
 efteemed. 
 
 He had a great ambition to vifit the court of the Elector Palatine, having heard large 
 accounts of the munificence of that Prince to many of his profeffion; and, at laft, in ' 
 company with his brother Gerrard, he travelled thither. When he had fpent fome 
 time about the palace, and found it difficult to procure a proper introduction, he fixed 
 upon a fcheme which very fortunately and fully anfwered his purpofe. 
 
 He ,had often obferved the Elector going out to the chace, and took particular notice 
 of all the nobility in his train. That incident Berkheyden made his fubject ; and in 
 conjunction with his brother, he finifhed two pictures, in which they painted the portraits 
 of the Elector, and his principal attendants, exceedingly like; and prevailed with an officer 
 of the houfehold to place them in a gallery, through which his Highnefs always pafled 
 at his return. The Prince had no fooner obferved them, than he expreffed the greateft 
 furprife and fatisfaction at the performance; and having impatiently inquired after the 
 artifts, and ordered them to be brought to court, he received them honourably, payetf 
 them in a princely manner for their works, and made them confiderable prefents; among 
 which were two medals of gold. 
 
 Gerrard BERKHEYDEN. 
 
 Painted Landfcapes^ and Perfpeclive Views of Palaces and Churches* 
 
 DIED 1693, AGED 48. 
 
 He was the brother of Job Berkheyden, born at Haerlem, in 1645, and painted many 
 pictures in concurrence with his brother; but his ufual fubjects were views of churches, 
 convents, noblemen's houfes, and magnificent ftructures, which he adorned with fmall 
 figures defigned after nature, with an intention to introduce them into his compofitions. 
 
 His works were much efteemed, particularly thofe in which his brother had been his 
 affiftant; but at the time when his reputation feemed to be ftill rifing, he was unfortunately 
 drowned in a canal, as he returned home alone, after fpending the evening in great 
 feftivity, with a cheerful fet of his friends. 
 
 He 
 
 which makes him only 55 at his death; the authority, therefore, of Houbraken, feems to be preferable, as it appears 
 much more exact. Defcamps alfo fays, that it was Job who was drowned, though other writers affirm that the misfortune 
 happened to Gerrard. 
 
 I 2 
 
BER 
 
 t 56 ] 
 
 BER 
 
 Nicasius BERNAERT. 
 Painted Animals. 
 
 DIED 1663, AGED 70. 
 
 He was the difciple of Francis Snyders, who in his touch, fpirit, and colouring, imitated 
 his mafter, and became an excellent painter of all kinds of animals, in a ftyle and' 
 expreffion very little inferior to Snyders. 
 
 BERNARD of Brussels. 
 Painted Animals^ Huntings^ and Portraits* 
 DIED 1540, AGED 
 
 Nothing memorable of this mafter is recorded, except that he was a good defigner, and 
 an excellent painter of the chaces and huntings of wild animals, giving a ftrong and 
 fpirited expreffion to them all; that Margaret, Governefs of the Netherlands, patronifed 
 and efteemed him, and employed him to defign fubje&s for tapeftries, which he executed 
 greatly to his honour ; that he was alfo engaged in the fervice of the Emperor Charles V. 
 and in thofe huntings which he painted for that monarch, he generally introduced the 
 portraits of the Emperor, and all his attendants ; and that feveral of his portraits of the 
 family of Naflau were fo highly regarded, as to be thought worthy of being copied by 
 Jordaens of Antwerp. 
 
 Sandrart mentions a picture of the Laft Judgment, painted by this ancient mafter, and 
 faySj that Bernard covered the panel with leaf gold, before he laid on his colours, to 
 preferve them from changing, and alfo to add a greater luftre to his tints ; and Sandrart, 
 who was a very fkilful artift, and a very competent judge, declares that it produced aa 
 happy effect, particularly in the fky. 
 
 BERNAZZANO. 
 
 Painted Land/capes^ Animals., and Fruit, 
 
 HE FLOURISHED IN I536. 
 
 This artift was born at Milan, where he ftudied the art of painting, and was 
 extremely commended for the goodnefs of his ftyle in landfcape, and for an excellent 
 'manner of colouring and handling; but, as he had never accuftomed himfelf to defign or 
 paint figures, he aflbciated with Caefare da Sefto, who had been a difciple of Lionardo da 
 Vinci, and whofe merit was acknowledged by Raphael. 
 
 This mafter likewife painted animals, fruit and flowers, with very great fuccefs. 
 
 Pietro 
 
B E R I 57 1 BER 
 
 Pietro BERRETINI da Cortona. 
 
 Painted Hijlory and Landscape, 
 
 DIED 1669,* AGED 73. 
 
 He was born at Cortona in 1596; and, according to fome writers, was a difciple of 
 Andrea Commodi, though others affirm that he was the difciple of Baccio Ciarpi ; and the 
 author of the Abrege fays, he was fucceflively the difciple of both: but he is allowed to 
 have had as great and as enlarged a genius as any of his profeffion, and to have painted 
 more agreeably than moft of the artifts who were his cotemporaries. 
 
 He went young to Rome, and applied himfelf diligently to ftudy the antiques, the 
 Works of Raphael, Buonaroti and Polidoro : by which he fo improved his tafte and his 
 hand, that he diftinguifhed himfelf in a degree fuperior to any of the artifts of his time. 
 And it feemed aftoniihing that two fuch noble defigns as were the Rape of the Sabines, 
 and a Battle of Alexander, which he painted in the Palazzo Sacchetti, could be the product 
 of fo young an artift ; when it was obferved, that for invention, difpofition, elevation of 
 thought, and an excellent tone of colour, they were equal to the performances of the beft; 
 mafters. 
 
 He worked with remarkable eafe and freedom; his figures are admirably grouped; his 
 diftribution is truly elegant, though his figures are frequently too heavy; and the chiaro- 
 fcuro is judicioufly obferved. Nothing can be more grand than his ornaments; and 
 where landfcape is requifite to be introduced, it is defigned in a fine tafte; and through 
 his whole compofitions there appears an uncommon grace. But De Piles obferves, that 
 it was not fuch a grace as was the portion of Raphael and Correggio; but a general 
 grace, confiding rather in a habit of making the airs of his heads always agreeable, than 
 in a choice of expreflions fuitable to each fubject. 
 
 In his large compofitions the colouring had a good effect; but his colouring in frefco is 
 far fuperior to what he performed in oil; nor do his eafel pictures appear as finilhed as 
 might be expected from fo great a mafter, when compared with what he painted in a 
 larger fize. 
 
 By the beft judges it feems to be agreed, that although this mafter was frequently 
 incorrect, though not always judicious in his expreflions; though irregular in his 
 draperies, and apt to defign his figures too ftiort and too heavy; yet, by the magnificence 
 of his compofition, the delicate airs of his figures, the grandeur of his decorations, and the 
 aftoniihing beauty and gracefulnefs of the whole together, he muft be allowed to have 
 been the moft agreeable mannerift that any age hath produced. 
 
 Some of the moft capital works of Cortona are in the Barberini Palace at Rome, and 
 the Palazzo Pitti at Florence. In the palace of the King of Sardinia at Turin, there is 
 
 a fmall 
 
 * De Piles fays, that Cortona died in 1669, in the fixiieth year of his age, which cannot be faft; for being confefled!<r 
 born in 1556,11c muft, in the year 1669, have been 73. 
 
 s 
 
B E R 
 
 C 58 ] 
 
 B E R 
 
 a fmall flcetch reprefenting the Annunciation of the Virgin, which is touched with 
 exquifite (kill and fpirit j and in the Palace of the Prince della Torre at Naples, there 
 is an incomparable picture of the Flight into Egypt. The deiign is much more correct 
 than one ufually fees in the works of this mafter j the heads are wonderfully graceful, 
 the compofition is extremely fine, and the colouring excellent. 
 
 Nicolo BERRETONI. 
 
 Painted Hi/lory. 
 
 DIED l682, AGED 65. 
 
 He was born at Macerata, in 1617, and was a difciple of Carlo Maratti, with whom 
 he ftudied defign and colouring for fome years, and by the guidance of fuch an inftructor 
 became a painter of fuch diftin£tion, that his merit excited even the jealoufy and envy 
 of his mafter, who feemed to be apprehenfive of finding a powerful competitor and rival 
 in his pupil. 
 
 His early works, after he quitted the fchool of Maratti, were in the ftyle and 
 tafte of Guido j and they could not poflibly have a more high encomium or recom- 
 mendation. 
 
 Nicholas BERTIN. 
 
 Painted Hi/lory. 
 DIED I736, AGED 69. 
 
 He was born at Paris, in 1667, and was fucceflively the difciple of Vernanfel, Jouvenet, 
 and Bon Boullongne. 
 
 His genius was, from his infancy, ftrongly attached to the profeffion of painting ; and 
 his application was lb inceflant, that at the age of eighteen he obtained the prize of merit 
 in the Academy. 
 
 He ftudied at Rome for four years, where he acquired a good tafte of compofition, 
 and in Lombardy he completed his knowledge of colouring. His manner of defigning 
 was frequently very correct, but in fome of his figures the outlines are not as exadr. as 
 could be wifhed, and his expreflion is but moderate. Yet he finiftied his paintings in a 
 fmall fize with remarkable neatnefs ; and therefore his abilities appear to much greater 
 advantage in that fize, than in his larger compofitions. 
 
 If he introdnced landfcape into the back-grounds of his pictures, it was generally 
 defigned in an agreeable ftyle, and handled in a mafterly manner! One of his moft 
 confiderable performances was an Tnftorical compofition, reprefenting the Baptifm of the 
 Eunuch of Queen Candace, by St. Philip. 
 
 3 
 
 DOMENICO 
 
BET 
 
 C 59 3 
 
 5 I B 
 
 Domenico BETTINI. 
 Painted Still Life, Animals, and Fruit. 
 
 DIED I7O5, AGED 6l. 
 
 He was born at Florence, in 1644, and at fir ft was inftr lifted in the principles of 
 painting by Jacopo Vignali j but afterwards he ftudied, at Rome, the works of Mario 
 da Fiori. He copied the paintings of that eminent mafter with much care and patience, 
 till he found his application amply rewarded, by the excellence he arrived at in the fame 
 ftyle and manner. He painted fruit, flowers, infects, animals, and ftill life 5 his objects 
 were well difpofed, they were very fkilfully grouped, and had a ftrong character of 
 nature and truth. 
 
 BEVILAQJJA. Vid. Salimbeni, 
 
 William BEURS. 
 Painted Portrait, Land/cape, and Flowers. 
 born in 1656. 
 
 This painter was born at Dort ; and by the dint of practice, aflifted by the force of 
 his natural genius, he mewed an extraordinary expertnefs in drawing and defigning, 
 before he had received even the fmalleft inftruction from any profeflbr of the art ; and 
 at the age of eighteen he was placed under the direction of William Drillenburg. 
 
 While he continued with that mafter, he made fo rapid a progrefs, that in a few years 
 he almoft equalled him in the freedom of his hand and the clearnefs of his colouring. 
 He painted in the ftyle and manner of Drillenburg, though he rather appeared fuperior 
 in the correctnefs of his defign ; and he might have acquired as great a reputation, and 
 as large a proportion of riches as any of his cotemporaries, if he had not wafted his 
 time and impaired his conftitution by a negligent and diflblute courfe of life. 
 
 Francesco BIANCHI, called I l Frar'i, 
 Painted Hi/lory. 
 died 1520, aged 
 
 He was born at Modena, and had the honour of being mafter to one of the moft 
 efteemed painters that ever appeared, Antonio Correggio. His colouring was .delicately 
 fine, his attitudes full ofe grace, and his invention extremely grand. His works had an 
 aftonifhing beauty, and are prized as highly as even thofe of Correggio. 
 
 Ferdinand Galli BIBIENA. 
 
 Painted Perfpeclive and Architecture. 
 
 DIED I74I, AGED 84. 
 
 He was born at Bologna, in 1657; and having loft his father, who had been a difciple 
 of Albano, he was placed under the direction of Carlo Cignani ; who, obferving that 
 
 the 
 
B I E 
 
 [ 6d ] 
 
 B I E 
 
 the genius of his pupil feem'ecj to have a llronger tendency to paint architecture than to 
 defign figures, took care to have him fuccefiively inftructed by Paradoflb, Aldrovandini, 
 and Antonio Manini, the beft mafters of that time for perfpective and architecture. 
 
 By the recommendation of Cignani, he foon had opportunities to difplay his talents, 
 and was particularly careffed by the Duke of Parma, who appointed him his principal 
 painter of decorations and architecture, with a considerable penfion ; and hjs fuccefTor 
 Francefco Farnefe continued to him the fame appointments, and held him in the fame 
 efteem. Afterwards the Emperor prevailed on him to accept of the like employment at 
 Vienna, condefcended to (hew him unufual marks of refpect, and prefented him with a 
 chain of gold and a medal. 
 
 His eafel pictures (hew a noble and elegant ordonnance, and a tone of colour 
 uncommonly beautiful. His perfpectives have an aftonifhing effect by the judicious 
 mafles of light and fhadow, the refult of a thorough and perfect knowledge of the 
 chiaro-fcuro ; and the veftiges of magnificent buildings, which he happily introduces in 
 his compofitions, add a grandeur and richnefs to all his performances. 
 
 Moft of the decorations which appeared in any part of Italy during his time were 
 executed from his defigns j but as he perceived himfelf incapable of defigning figures 
 with as much propriety and elegance as he defired, they were inferted in his works by 
 his brother Francis. 
 
 Adrian De BIE. 
 
 Painted Portraits and Ornaments of Architeclurej and frnall Figures. 
 
 BORN IN I594. 
 
 He was born at Liere, and at firft learned the rudiments of the art from Wouter 
 Abts; yet afterwards he became the difciple of Rodolph Schoof, a painter of confiderable 
 reputation, at that time in Paris. However, when he had practifed under that mafter 
 for a fufHcient time to form his hand, he fought to obtain ftill greater improvement by 
 travelling to Rome > and there he fpent fix years in ftudying the works of the beft 
 mafters, devoting his whole time to his profefllon. 
 
 His induftry was then rewarded with proportionable fuccefs; for he found encouragement 
 among the moft honourable perfons at Rome, and in every part of Italy through which 
 he travelled, from perfons of the firft diftinction. 
 
 His penciling was fo exceedingly neat, and his touch and colouring fo very delicate, 
 that he was frequently employed to paint on jafper, agate, porphyry, and other precious 
 materials. 
 
 Christian Jans Van BIEZELINGEN. 
 Painted Portrait. 
 
 DIED l600, AGED 42. 
 
 He was born at Delft, in 1 558, and accounted to have confiderable merit as a painter 
 of portraits. But the moft memorable performance of this mafter was the portrait 
 
 which 
 
B I S 
 
 C 6i ] 
 
 B I S 
 
 v/hich he painted of the Prince of Orange, after that Prince had been afTaflinated by 
 Balthafar Gerrard. For although the painter had only the lifelefs corpfe for his model, 
 yet the picture was allowed to be finely executed, and with a much ftronger character 
 and refemblance of that illuftrious hero, than any other of his portiaits which were 
 finiftied from the life. 
 
 Bartolomeo BISCAINO. 
 Painted Hijiory. 
 
 DIED 1657, AGED 2$. 
 
 He was born at Genoa, in 1632, the fon of Giovanni Andrea Bifcaino, who was a 
 landfcape-painter in good repute. From his father he learned the principles of drawing 
 and defign; but he was indebted to Valerio Caftelli for his knowledge of colouring. 
 
 He proved an incomparable defigner, and, by his early performances, afforded an 
 expectation of his future proficiency, and of his arriving at the utmoft perfection in the 
 art; but he was too foon cut off (to the regret of all lovers of the art), in the flower 
 of his age. 
 
 John De BISCHOP, or Bis ko p. 
 
 Painted Hijiory and Land/cape. 
 
 DIED l686, AGED 4O. 
 
 He was born at the Hague, in 1646, and was allowed to have a great deal of merit m 
 thofe paintings which he finiftied in oil; but his chief excellence confifted in drawing 
 With a pencil, in a manner fo uncommonly curious, that he could perfectly imitate the ftyle 
 of the greateft mafter: and a judicious obferver might, even at the firft look, determine 
 whether he imitated Tintoretto, Baflan, Caracci, Veronefe, Rubens, or Vandyck. 
 
 !For that reafon his drawings were much fought for ; they are carefully preferved* 
 and, at this day, are very highly prized, as they are correct and in an excellent tafte. 
 
 Cornelius BISCHOP, or Biskop. 
 Painted Portrait and Hijiory. 
 
 * DIED 1674, AGED 44. 
 
 He was born at Antwerp, in 1630, and was the difciple of Ferdinand Bol. His 
 pencil, his tint of colouring, his ftyle and manner, had a ftrong refemblance of his 
 mafter ; and, by many competent judges, he is eftemed not inferior to him in hiftorical 
 fixbjects, as well as in portrait, having been always afiiduous to ftudy after nature. 
 
 A painting by this mafter, confifting of a few figures by candle-light, was fo much 
 admired by Louis XIV. that he purchafed it at an high price, and it is placed in the 
 Royal Collection; and the King of Denmark admitted his works among thofe of the 
 beft matters. 
 
 K However, 
 
 * In the Chronological Tables it is faid that he was born at Antwerp ; but Mr. Defchamps fays he was born at Dott» 
 
B I S 
 
 L 62 ] 
 
 B I Z 
 
 However, notwithftanding the encomiums bellowed on this mafter by the Flemifh 
 writers, an impartial judge would, perhaps, think his competitions" but heavy, and without 
 expreflion, and his works in general not worthy of all that commendation which is 
 lavilhed upon them. 
 
 Abraham BISCHOP, or Biskop. 
 
 Painted Fowls. 
 DIED AGED 
 
 This artift was the fon of Cornelius Bifchop; but, although he was inftructed by his: 
 father to defign hiftorical fubjects and portraits, yet he preferred the painting of fowl> 
 particularly thofe of the domeftic kind, to any other fubjects which were recommended 
 to him. 
 
 He deligned every object after nature, and ufually painted in a large fize, fuch as 
 ornamental furniture for grand halls; and every fpecies of fowl was fo exactly like 
 nature, in its attitude, character, and plumage, that his works were beheld with univerfal 
 approbation. 
 
 Charles Emanuel BISET. 
 Painted Hijiory and Converfations. 
 
 BORN IN 1633. 
 
 He was born at Mechlin, and even in his early productions mewed a lively and readv 
 invention. He was remarkable for introducing a multitude of figures into his defigns, 
 with an extraordinary variety of drapery, peculiar to every nation. 
 
 His general fubjects were converfations, balls, concerts, and aflemblies of gay and 
 genteel perfons, which were correctly defigned, and well coloured; though their actions 
 and attitudes were fometimes very indelicate. 
 
 His pictures had a ftrong effect at a diftance; yet, when they were more nearly 
 infpected, they ftiewed a neatnefs of pencil, a fpirited touch, and a good expreflion. 
 
 BoNAVENTURA BIS I. 
 
 Painted Hijiory and Miniature. 
 
 DIED l662, AGED 
 
 He was born at Bologna, and was a difciple of Lucio Maflari. But his fole delight 
 was in miniature painting, and in that way he arrived at great excellence. 
 
 Inftead of working from his own invention, or original defign, he employed himfelf to 
 imitate, in a fmall fize, the pictures of Guido, Correggio, Titian, and other great mafters> 
 and thofe he fimftied with aftonilhing grace, neatnefs, and beauty. 
 
 A great 
 
B I Z 
 
 [ 63 ] 
 
 B L A 
 
 A great number of the works of this mafter are in the Duke's gallery at Modena, and 
 are highly valued. 
 
 Giovanni BIZZELLI. 
 Painted Hijiory and Portrait, 
 
 DIED l6l2 } AGED 56. 
 
 He was the difciple of Alexander Allori, called Bronzino; and having laid a good 
 foundation of the knowledge of defign, by the inftruction of that mafter, he vifited Rome ; 
 and there, with intenfe application, ftudied the molt celebrated paintings and ftatues in 
 that city. 
 
 His abilities were foon diftinguifhed, and he had continual employment as long as he 
 continued at Rome; being engaged by perfons of the firft rank to paint fubjects of his 
 own invention, or fubje&s taken from facred or fabulous hiftory, and likewife portraits; 
 all which he executed with a fine tafte of defign and good colouring. 
 
 Jacques BLANCHARD. 
 Painted Portrait and Hijiory. 
 
 DIED 1638, AGED 38. 
 
 He was born at Paris, in 1600, and received the firft inftr uctions in the art of painting 
 from his uncle Nicholas Bolleri; but afterwards he fpent fome time with Horace Le Blanc 
 at Lyons, and then travelled to Italy, and ftudied for two years at Rome and Venice. 
 
 The colouring of Titian and Tintoretto, whofe works were the principal objects of 
 his ftudies, made him fo enamoured with the Venetian fchool, that he followed it entirely, 
 and his principal power was feen in his colouring. The force and clearnefs of his 
 pictures gained him many admirers in France, when he returned from Venice; and the 
 beauty of his colouring, which at that time was new to the French artifts, obtained for 
 him the flattering appellation of the modern Titian. 
 
 In the church of Notre Dame at Paris, there is a picture of the Defcent of the Holy 
 Ghoft, by the hand of Blanchard, which gained him reputation, and even at this day it 
 feems to be very highly efteemed. 
 
 Thomas BLANCHET. 
 Painted Hijiory, Perfpe£iive> and Portrait. 
 
 DIED 1689, AGED 72. 
 
 He was born at Paris, in 1617, and at firft his genius inclined him to fculpture; but, 
 being diflu-aded from practifing that art, on account of the weaknefs of his conftitution, 
 he applied himfelf to the ftudy of painting; and having made fome progrefs in it, while he 
 continued at Paris, he travelled to Italy, for additional improvement. 
 
 K 2 While 
 
BLA r 64 J BLE 
 
 While he ftudied at Rome, he had the good fortune to receive fome excellent precepts 
 from Nicolo Pouflin, and Andrea Sacchi, of which he afterwards made a very happy ufe 
 in the hiftorical fubjects which he compofed; and as foon as he had eftablifhed his tafte of 
 delign and colouring, he returned to his own country an able artift. 
 
 Blanchet had a ready genius, defigned well, and underftood the principles of perfpective 
 and architecture. He was rich in his compofition, and his colouring had much of the 
 appearance of nature. His boys were well defigned ; and although he was not always, 
 correct, his errors in that refpect were perhaps as juftly imputable to a rapidity of his 
 imagination and pencil, as to any want of ability or (kill. 
 
 John Teunisz BLANK OF. 
 Pointed Landfcapes^ Views of Sea-Shores^ Calms, and Storms* 
 
 DIED 167O, AGED 42. 
 
 This artift was born at Alkmaar, in 1628, and received his earlieft inftruction from 
 Arent Tierling; but, afterwards, he was fucceflively the difciple of Peter Scheyenburg v 
 and Csefar Van Everdingen. 
 
 When he had fpent fome years with thofe mafters, he went to Rome, where, during 
 his continuance in that city, he was ftudioufly diligent in copying the works of the beft 
 mafters, and was admitted into the fociety of Flemifti painters, called Bentvogels, who 
 gave him the name of Jan Maat (which in Dutch fignifies mate, or companion), and by 
 that name he is moft generally known.. 
 
 His fubjects were landfcapes, with views of rivers, or fea-fhores, havens, or ports, 
 which he executed with a, light, free pencil; and in the reprefentation of ftorms and 
 calms, (as nature was always his model) he defcribed thofe fubjects with great truth, 
 exactnefs, and neatnefs of handling. 
 
 The pictures of this maftcr which are moft commended, are the Italian fea-ports, with 
 veffels lying before them. He pofTeiTed a lively imagination, nor was his hand lefs 
 expeditious than his. thoughts ; and the connoifleurs agreed in opinion, that if he had 
 beftowed more labour^on his pictures than he ufually did, or if he had finifhed them more 
 highly, he would certainly have deftroyed a great deal of their fpirit, force, and effect. 
 
 His moft capital performance is a view of the fea-fhore with the waves retiring at 
 ebb tide j which is defcribed as being wonderfully beautiful and natural, by Houbraken, . 
 
 BLEKERS. 
 
 Painted Portrait and Hijtory. 
 
 DIED AGED. 
 
 He was born at Haerlem, about the year 1635, and was in high reputation through 
 the Netherlands. The Prince of Orange patronifed him } and he continued in the fervice 
 
BLE 
 
 [ 6$ ] 
 
 BLO 
 
 of that Prince for feveral years. Among a great number of paintings which he finifhed 
 for his patron, one was an hiftorical defign of the Triumph of Beauty; in which com- 
 pofition the figure of Venus was well coloured, and delicately defigned. And another 
 picture of this matter's hand is mentioned with large commendation,, the fubject of which 
 is the ftory of Danae. 
 
 Henry BLESS. 
 Painted Hijiory and Landfcape. 
 
 DIED 1550, AGED 70. 
 
 This painter was born at Bovine, near Dinant, in 1480, and obtained his fkill in the 
 art of painting, merely by the ftrength of his natural genius, aflifted by a diligent ftudy 
 and obfervation of the works of Patenier, without having any other inftructor ; and at laft 
 rendered himfelf very eminent, particularly by his landfcapes. 
 
 His beft performances were bought up by the Emperor Rodolph, and. they are ft 511 
 preferved at Vienna. 
 
 His ftyle of compofition, in hiftorical fubj efts, refam bled the ftyle of the Flemifh artifts- 
 of that age, and exhibited a great number of figures, finifhed with extreme neatnefs ; but 
 he crowded feveral fubjects into one defign; as, in his picture of the Difciples at Emmaus, , 
 he reprefented not only that incident, but, in different groupes difpofed in the back-ground, 
 he reprefented likewife the different parts of the paffion of our Saviour. And yet, nor> 
 withftanding the impropriety of that manner of compofing, his pictures were fo delicately 
 penciled and finifhed, and his landfcapes in particular fo agreeably invented, fo full of 
 variety and well executed, that even in Italy his works were in great requeft, and 
 were diftinguifhed there by the appellation of the Owl pictures; for he fixed an owl, as 
 his peculiar mark, in every picture he painted; by which the works of this matter are . 
 always indifputably known. 
 
 Anthony de Mont fort BLOCKLAND. 
 Painted Hijiory and Portrait. 
 
 DIED I583, AGED 51. 
 
 He was born of a noble family at Montfort, in #1532, and learned the art of painting 
 in the fchool of Francis Floris, whofe manner he always followed; and became an artift 
 of great diftinction, by endeavouring principally to imitate the tafte of the Roman fchool, 
 in defign and compofition. ' 
 
 He 
 
 * Mr. Defcamps fixes his birth in 1532; and the year of his death in 1583, and yet fays, that he died at the. age 0/40, . 
 which would determine his death to. be in the year 1 572, though he fets it down as in 1583; for, allowing his birth in- - 
 J532, he muft in 1583 have been 51, inftead of 40. 
 
BLO [66] BLO 
 
 He underftood the principles of perfpective thoroughly, as may be evident from his 
 paintings j and he difpofed his figures with great judgment and accuracy; the ftyle of his 
 colouring was agreeable, and his pencil mellow. 
 
 He defigned every object after nature, and gave confiderable elegance to the contours 
 of his figures; the principles of his mafter, Floris, were his conftant guides, and he 
 never varied the ftyle which he had acquired in the fchool of that artift. He defigned the 
 naked extremely well, and his draperies are in a good tafte ; the heads of his figures are 
 well ornamented, the beards of his old men are handled delicately, and the extremities of 
 his figures are correct. 
 
 His genius was beft adapted to grand compofitions, of which he defigned many; fome 
 at Delft, but more at Utrecht. His defign had grandeur, the airs of his heads were noble, 
 and the profiles of his female figures approached near to the tafte of Parmigiano. 
 
 Several of his works are in fo good a gufto, and particularly a Venus, and the hiftory 
 of Jofeph and his Brethren, that they feem to have been painted by a mafter educated in 
 the fchool of Florence. 
 
 Daniel BLOCK. 
 
 Painted Portrait. 
 
 DIED l66l, AGED 8l. 
 
 This artift was born at Stettin, in Pomerania, in 1580, and gave early proofs of a good 
 genius; which induced his parents to place him as a difciple with Jacob Scherer, a mafter 
 capable of giving him the beft directions, to qualify him for proceeding fuccefsfully in 
 his profeflion. 
 
 He chiefly painted portraits, in which (according to Sandrart) he was very eminent; 
 and had the honour to paint the portraits of Chriftian IV. King of Denmark, and of 
 Guftavus Adolphus, King of Sweden. 
 
 The extraordinary merit of this mafter recommended him to the efteem of the Prince 
 of Mecklenburg, who retained him in his fervice for forty-four years ; and by order of 
 that Prince, he painted the portraits of his whole family at full length, as large as life, and 
 in the antique habit; by which works his reputation was eftablifhed effectually. 
 
 By the agreeable manner of his colouring, and the eafy attitudes of his figures, his 
 paintings became fo acceptable to all perfons of rank, that before the decline of life, he had 
 acquired a very large fortune; but unfortunately he loft it all, in the compafs of a few 
 hours, by the fudden irruption of a plundering party, and with great difficulty his own 
 life was preferved. 
 
 Jacob Roger BLOCK. 
 Painted Architecture and Perfpeclive. 
 
 DIED AGED 
 
 He was born at Gouda, where he learned the art of painting; but thofe branches 
 which he principally cultivated, were perfpective and architecture. 
 
 Several 
 
BLO 
 
 C 6 7 ] 
 
 BLO 
 
 Several years of the early part of his life were fpent in Italy, where he imbibed that 
 tafte of grandeur and elegance in his compofitions, which raifed him in the public efteem 
 above all his cotemporaries. At his return to his own country, he was appointed ftate 
 painter to the Arch-Duke Leopold, and attended that Prince in all his campaigns, as he 
 was remarkably fkilful in military architecture \ but, having rode out with a recon- 
 noitring party, to take a view of the fortifications of Saint Vinox, in Flanders, in pafling 
 a fmall rivulet over a temporary bridge of planks, his horfe made a wrong ftep, threw 
 him into the ftream, where, notwithftanding all immediate afliftance, he was unfortunately 
 drowned. 
 
 While he lived at Gouda, he was honoured with a vifit from Rubens; and, when that 
 great artift had examined and thoroughly confidered the works of Block> he declared that 
 he had not feen any painter in the Netherlands who could ftand in competition with him 
 for the fubjects he painted. 
 
 Benjamin BLOCK. 
 Painted Portrait and Htjlory, 
 
 DIED AGED 
 
 He was the fon of Daniel Block, born at Lubeck, in 1631, the firft fpecimen of whofe 
 genius was a drawing, with a pen, of the Duke of Mecklenburg, which appeared like a 
 fine engraving, and was accounted a curiofity; but he very foon proved himfelf fo 
 excellent a painter, that his reputation was fpread through all Germany. 
 
 To improve himfelf in colouring and defign, he refided for fome time at Rome,. Venice, 
 and Florence, where his merit procured him accefs to the moil curious cabinets, and he 
 fpent feveral years in defigning ; by which he acquired a good tafte and a pleafing tone 
 of colouring. 
 
 Thofe accompliftiments introduced him to the Court of Saxony, whither he was invited 
 and employed to paint the portraits of the Elector and his family, and alfo the portraits of 
 the prime Nobility of that part of Germany ; he likewife painted a considerable number 
 of altar-pieces for the churches and convents of the kingdom of Hungary, which are 
 extremely commended. 
 
 The moft capital performance of this matter, is the portrait of Kircher the Jefuit, which, 
 even at Rome, was exceedingly admired. 
 
 Abraham BLOEMART. 
 Painted Landfcape, Cattle, Hi/lory, and Portrait* 
 
 DIED 1647, AGED So. 
 
 This mafter was born at Gorcum, in 1564, according to Houbraken ; but according to 
 Sandrart, whofe authority feems to claim the preference, he was born in 1567, and lived 
 
 % moftly 
 
BLO 
 
 t 68 ] 
 
 BLO 
 
 moftly at Utrecht. In his youth he applied himfelf diligently to defign after the works of 
 Francis Floris, and afterwards received inftructions from feveral artifts of no great repute 5 
 but the power of his own genius proved his principal director in the art of painting. 
 
 He formed a manner peculiar to himfelf, making nature his model for many of the 
 objects he painted, particularly in his cattle, in which he excelled. His invention was 
 ready, and in his compofitions there appears a great deal of truth; his draperies are 
 broad, fimple, and have generally a good effects yet they would have been much better, 
 if, in that refpect, he had ftudied nature with more care; his touch is free and fpirited, 
 and his works demonftrate that he underftood the Chiaro-Scuro very well. But his tafte 
 and ftyle have too much of the Flemifh; and his figures feem to be the product of his 
 own fancy, without fufficiently attending to nature, as he ought, and above all, to 
 elegant nature. 
 
 The hiftorical picture of the Death of Niobe and her Children, gained him a confiderable 
 reputation; and it was purchafed by the Emperor Rodolph, at a very good price. The 
 figures in that compofition were as large as life. 
 
 He left two fons, who were -painters. The eldeft, 
 
 Henry BLOEMART, 
 
 Was inftructed in the art by his father, but he never arrived at any degree of credit. — 
 His genius was heavy; his colouring not agreeable ; his manner of penciling, ftiff and 
 conftrained; nor did any of his labours appear worthy of the fon and difciple of fo great a 
 matter. But the fecond fon of Abraham, 
 
 Adrian BLOEMART, 
 
 Proved much "more eminent; for, when he had finifhed his ftudies under his father, 
 he travelled to Italy, and improved himfelf confiderably in his tafte of compofition and 
 defign. 
 
 On his return from Rome, he fettled at Saltzbourg ; and feveral of his paintings, in 
 the hiftorical ftyle, are at the Benedictines in that city, by which his reputation was 
 firmly eftablifhed. 
 
 Peter Van BLOEMEN. 
 Painted Battles^ Encampments, and Italian Markets. 
 
 DIED AGED 
 
 He was born at Antwerp, brother to John Francis Van Bloemen, called by the 
 Italians, Horizonti, and lived for feveral years at Rome along with his brother; devoting 
 his whole time inceflantly to ftudy the works of the greateft mafters. As foon as he 
 found himfelf competently /killed in colouring and penciling, as well as in defigning, 
 
B L O 
 
 C 69 ] 
 
 B L O 
 
 he returned to his native city, where, in the year 1699, he was appointed director of 
 the academy. 
 
 The compofition of this mafter is rich, and his pictures are generally filled with a 
 number of figures. His fubjects are, the Marchings of Squadrons of Cavalry, Encamp- 
 ments, Artillery, Battles, Italian Fairs, Markets, and Feftivals; in which he fliewed 
 great corre£tnefs in his defign and in his drawing, an elegance in the manner of drefiing 
 his figures; and frequently he reprefented them in oriental habits. He defigned horfes in 
 an admirable ftyle, and in his battles gave them abundance of fpirit, graceful attitudes, 
 and an expreffion that was fuH of life and nature. , 
 
 His landfcapes are enriched with elegant architecture, with baflb-relievo's, and 
 mutilated ftatues, in a noble tafte; and rendered ftill more pleafing by a good tone of 
 colour, by animals of different kinds, and excellent figures. 
 
 His beft works are admired in all parts of Europe, and afford large prices ; but, it is to 
 be obferved, that fome of his pictures feem rather to be too much laboured, or ftift, and 
 (according to the artifts phrafe) fmell of the palette; and thofe are proportionably lefs 
 eftimable. 
 
 John Francis Van BLOEMEN. Vid. Orizonti. 
 
 Norbert Van BLOEMEN. 
 Painted Portraits and Converfations. 
 born in 1672. 
 
 This painter was born at Antwerp, being a younger brother of Orizonti and P eter 
 Van Bloemen, two artifts of extraordinary eminence. The reputation which his brothers 
 pofTeffed at Rome, invited him thither, although he had already confiderable employment 
 in his own country. 
 
 While he was in Italy, he devoted all his hours to ftudy; as the profeffion of painting 
 was the only means he had of getting a livelihood. 
 
 He principally painted converfations and portraits; and he would have made his 
 pictures much more valuable, if in his colouring he had fliewn more truth, and more of 
 nature, and lefs of the glaring and raw; yet in other refpecls he had fome degree of merit. 
 
 Christopher Le BLOND. 
 Painted Portraits in Miniature, and all kinds of fubjefts on Paper. 
 
 born in 1670. 
 
 Very few circumftances relative to the education or life of this artift are mentioned by 
 any writers, till he was known at Rome, in the year 17 16, being at that time painter to 
 the Count Martinetz, ambaflador at the Court of Rome; and his reputation, as a good 
 painter of portrait in miniature, was well eftabliflied in Italy. 
 
 L By 
 
B L O [ 70 j BLO 
 
 By the folicitation of Overbeke, he was induced to go to Amfterdam, zn:. ... <ity 
 was employed to paint fmall portraits for bracelets, rings, and fnuff-boxes ; and 
 although they were painted in water-colours, yet the colouring was as lively and natural 
 as if they had been painted in oil. However, as he found his fight much impaired by the 
 minutenefs of his work, he difcontinued water-colour painting, and attempted the ufe of 
 oil, with a reafonable degree of fuccefs. 
 
 After he had refided for fome years in the Low Countries, he went to England, and fet 
 up a new manufactory of painting, or imprefling colours on paper with copper-plates, 
 which feemed to promife extraordinary advantages to the projector; though, in the 
 conclufion, it proved detrimental to himfelf and his afTociates. 
 
 The fcheme of the undertaker was, to copy the moft capital pictures in England of the 
 greateft mafters, in fuch a manner, as to give his prints the appearance of paintings in 
 oil ; and he imitated his models with fo much fkill, fuch exact refemblance, fuch correctnefs 
 of outline, fuch fimilarity of colour and expreflion, that at firft they amazed every 
 beholder who viewed them at a proper diftance; and many of thofe prints are ftill extant, 
 which are much efteemed by perfons of good tafte. 
 
 Le Blond might have fucceeded to his wifli, if his own diflblute life and morals had 
 not occafioned the ruin of his project, and of thofe who contributed to the undertaking; 
 for, by his vices, he at once deftroyed his fortune, his character, and the advantage of his 
 uncommon talents. 
 
 He was not the original inventor of that manner of managing colours, though many 
 have been taught to think other wife; but he took it from Laftman and others, who with 
 much greater regularity of morals, equal capacities, and more difcreet conduct, had before 
 undertaken it, and failed of fuccefs. 
 
 Peter BLOOT. 
 
 Painted Conversations. 
 died 1667. 
 
 The works of this Flemifti mafter are not frequently feen in thefe kingdoms, nor are 
 they eafily purchafed in Holland, being carefully preferved in private collections, and are 
 highly efteemed. 
 
 The fubjects he chofe to paint were always taken from the loweft life ; fuch as Boors 
 drinking, feafting, dancing, or quarrelling; Shepherds piping; and fometimes the 
 Marriages of Villagers. He was a faithful, and indeed too fervile an imitator 'of 
 nature, even in the uncomely; never departing from the actions, attitudes, or draperies 
 of his models. 
 
 He fhewed a good knowledge of the chiaro-fcuro and perfpedtive ; he had a delicate 
 manner of penciling, and his colouring was mellow ; but he had no idea of elegance. 
 His figures are generally fhort, grofs, and ungraceful ; neither was his expreflion 
 commendable, nor his outline very correct. Yet his pictures have in many refpects 
 
 2 great 
 
BOC 
 
 c 71 5 
 
 BOC 
 
 great merit, and his defers feem rather imputable to the tafte of his country, than to his 
 own genius ; fome of his works being, for the lightnefs of the touch, the neatnefs of 
 handling, and tranfparence of colour, equal to the beft of his time. 
 
 Camillo BOCCACCI, called Boccacci no. 
 Painted Hijiory and Portrait. 
 
 DIED I546, AGED *35« 
 
 He was born at Cremona, in 151 1, where he received the flrft inftructions in the art of 
 painting from his father; and for fome time he was obliged to conform himfelf to the ftyle 
 and manner of his inftructor. But when he arrived at Rome, he determined to quit 
 that hard dry manner of colouring, to which he had been accuftomed, and by degrees 
 he afTumed the Roman tafte entirely, in all his fubfequent compofitions. 
 
 In his application to his ftudies he was unwearied, and his rapid improvement was fo 
 vifible, that he was immediately employed in feveral noble works for the churches 
 and convents. 
 
 He died very young, at a time when there was a great expectation of his arriving at 
 very high perfection. 
 
 Clemente BOCCIARDI, called Clementone. 
 Painted Hijiory and Portrait. 
 
 DIED 1658, AGED 38. 
 
 He was born at Genoa, in 1620, and was the difciple of Bernardo Strozzi, an artift of. 
 good reputation; but he found in himfelf fo ftrong an ambition to arrive at the utmoft 
 excellence in his profeflion, that he left Genoa, and went to Rome, there to explore that 
 true fublimity of ftyle, which can only be obtained by a judicious obfervation of the ancient 
 fculptures, and the works of the celebrated modern artifts. 
 
 By the guidance of an excellent genius, and alfo by a moft induftrious application to 
 defign, he difcovered the art of uniting and blending the antique and modern gufto, in 
 a ftyle that at once exhibited both gracefulnefs and ftrength. 
 
 Moft of the works of this mafter (except his portraits, which were lively, natural and 
 graceful) are in the chapels of Genoa, Pifa, and other cities of Italy; of which places 
 they are, at this day, accounted the greateft ornaments, and are moft exceedingly efteemed. 
 
 John Van BOCKHORST. 
 
 Painted Hijiory and Portrait. 
 
 DIED AGED 
 
 He was born at Munfter, about the year 1610; and, in the fchool of Jacques Jordaens, 
 learned defign and colouring. Under that mafter he received all poflible advantage, as 
 
 well 
 
 * Vafari, without fpecifying the year of his b'rth, fays he died at the age of 58 ; but other authentic writers who fix 
 the year of his birth and death, agree that he died young in 1546, when he could only be 35. 
 
 L 2 
 
BOD 
 
 I 7* 3 
 
 BOD 
 
 well from his inftruclion as his example, and became fo excellent an artift as to equal 
 fome of the beft of his cotemporaries. 
 
 He defigned well, and the heads of his women were generally graceful ; his tone of 
 colouring fometimes refembled that of Rubens, but more frequently that of Vandyckj his 
 pictures have a great deal of force, with much harmony, and his ikilful management of 
 the chiaro-fcuro produces an agreeable effect. 
 
 A very fine performance of this mafter is an altar-piece in the parifh-church of St. James, 
 at Ghent, reprefenting the Martyrdom of that Saint; and in another church, there is a 
 picture of the Annunciation, which is infcribed with the date of the year when it was 
 painted, 1664. 
 
 BODEKKER. 
 
 Painted Portraits* 
 
 DIED I727, AGED 67. 
 
 This painter was born in the country ©f Cleves, in 1660, and bred up to be a mufictarti 
 by his father, who was extremely eminent in that profeffioni but he quitted mufic for 
 painting, making the latter his bufinefs, and the other only his amufement. 
 
 He was placed as a difciple with JohnDe Baan, at the Hague j and continued under his 
 direction, till De Baan fuppofed him to be fufficiently qualified to acquire both fame and 
 fortune by painting portraits. 
 
 He practifed his profelfion firft at Bois-le-Duc and Breda, with very great fuccefs j and 
 his works procured him the favour of thofe in the higheft Nations. He then vifited the 
 Hague, where he alfo received many acts of kindnefs from perfons of the firft rank j and 
 at !aft retired to Amfterdam, where he fpent the remainder of his life, as he found his 
 performances greatly efteemed in that city. 
 
 N. BODEWYNS, and Francis BOUT. 
 
 Painted Landscapes and Figures. 
 
 DIED AGED 
 
 The works of thefe mafters are well known in thefe kingdoms, being very frequently 
 to be purchafed. They conftantly aflociated together in their labours, as their talents 
 were of a different kind ; the merit of Bodewyns confifting in defigning landfcapes, and 
 that of Bout in painting figures. . 
 
 In many of their pictures may be obferved a fine pencil, a light and neat manner of 
 handling, and agreeable colouring j fome of the figures being touched with a fpirit and 
 freedom refembling the Velvet Brueghel, and not much inferior to that great mafter. But 
 fome others of their pictures are flight and negligently finifhed, and have, in every refpect, 
 much lefs merit, as well in defign as execution. 
 
 Their fmalleft pictures are generally their beftj and thofe of their beft ftyle have the 
 trees well formed, and handled in a mafterly manner } the figures and cattle are correctly 
 drawn, and properly difpofedj and the whole together may afford fetisfaction and pleafure, 
 even ta the beft judges of painting. 
 
 Peter 
 
BOE 
 
 C 73 ] 
 
 B O L 
 
 Peter BOEL. 
 
 Painted Still Life and Animals* 
 
 DIED l680, AGED 55. 
 
 This artift, who was the nephew of Cornelius de Waal, was born at Antwerp, in 
 1625; and being carefully inftructed for fome years by his uncle, he completed his 
 ftudies at Rome. 
 
 De Waal,, for the moll part, refided at Genoa, where his works procured him wealth, 
 favour, and friends : to him therefore, at Genoa, Boel returned as foon as he left Rome, 
 and in a fhort time he diftinguifhed himfelf fo effectually in his profeffion, as to have full 
 employment as long as he continued in Italy. 
 
 He chofe for his fubjects fruit, animals, and flowers; which he finifhed with great 
 fpirit, with a free and bold pencil, and a tint of colour that was natural and beautiful, 
 as he always copied every object after nature.. 
 
 James BOG DANE. 
 Painted Birds, /V«<7, ovd Flowers:- 
 
 He was of a genteel family in Hungary, his father having been a deputy from the 
 States of that country to the Emperor. He had never been regularly bred to the. 
 profeffion of painting, but the progrefs he made in the art was merely imputable to the 
 force of his own natural abilities. His favourite fubjects were fowl of all kinds, fruit, 
 and flowers ; but more efpecially birds, whether foreign or domeftic. 
 
 He had the honour of being employed by Queen Anne, and fome of his paintings are 
 ftill to be feen in the Royal Palaces. He was exact in his copying nature, and imitated 
 his models accurately in the colouring ; but he often erred, by drawing his birds much 
 too large for life ; which, though intended for a diftant view, and to allow for the height 
 of the picture above the eye of the fpedtator, did not anfwer in perfpe&ive proportion. 
 
 However,, he found fo considerable a demand for his works, that he was enabled by his 
 induftry to acquire an eafy fortune ; but being over perfuaded to affign that fortune over 
 to his fon, who propofed to marry a lady of a vafh reputed fortune, the wedding was no 
 fooner made irrevocable, than it unfortunately proved to be an impofition, and the 
 detection of it preyed upon the fpirits of Bogdane as long as he lived. 
 
 By the lofs of his money he was reduced to poverty, was feized with a violent diforder, 
 and died in very great diftrefs and affliction. 
 
 Ferdinand BOL. 
 Painted Hi/lory and Portrait. 
 
 DIED l68l, AGED 70. 
 
 He was born atDort, in i6n, educated at Amfterdam, and placed as a difciple in the 
 fchool of Rembrandt. His principal ftyle was portrait, which he painted in a free, bold 
 
 manner., 
 
BOL 
 
 [ 74.] 
 
 B O L 
 
 manner, but not with that clearnefs of flefti, and remarkable relievo, by which his mafter 
 was rendered defervedly famous. His colouring had frequently too great a tinge of 
 brown in the carnations ; though, notwithftanding that particularity, his portraits had a 
 great look of life and nature. 
 
 He alfo rendered himfelf considerable as a painter of hiftoryj and in that ftyle mewed 
 a good tafte of compofition, as well as a tolerable expreflion in fome of his figures ; but 
 he often wanted the graceful and the elegant. In fome of his works we fee a great deal 
 of correctnefs, with eafy and natural attitudes, but in others (perhaps from negligence) 
 his outline is defective, and the airs of his figures are not delicate. He always adhered 
 to the manner of his mafter Rembrandt, and feveral of his productions were an equal 
 honour to the mafter and the difciple. 
 
 In the Council-Chamber at Dort, over the chimney, there is a capital picture by Bol, 
 of which the fubject is, the Appointment of the feventy Elders in the Camp of the 
 Ifraelitesj and another, of Mofes breaking the Tables of Stone: both of them are well 
 defigned, and thoroughly well executed. And in the Chamber of the. Burgomafters there 
 is an hiftorical picture of Fabricius in the Camp of Pyrrhus, which is exceedingly admired. 
 
 John BOL. 
 
 Painted Landfcape^ Hi/lory^ and Animals, 
 
 * DIED I593> A °ED 59. 
 
 This painter was born at Mechlin, in 1534, and received his firft inftrudtion from a 
 mafter of no great , note, with whom he continued for two years; but he afterwards 
 ftudied at Heidelberg, copying the works of fome eminent artifts, and without the 
 afliftance of any other mafter became a good painter. 
 
 His fubjects were, views of feveral cities and towns in the Low Countries, and 
 particularly different profpects of the city of Amfterdamj in which pictures, the veflels, 
 and the reflections of them in the water, were admirably executed. His invention and 
 compofition were very pleafing; there appears great harmony and union in his colouring, 
 and his manner of fketching and penciling is broad and free. 
 
 Van Mander highly commends one of the paintings of Bol, which is in diftemper j 
 the ftory of it is, Daedalus and Icarus ; and he fays that he never faw any thing more 
 beautiful. 
 
 John BOLANGER. 
 Painted Hijiory. 
 
 DIED l66o, AGED 54. 
 
 He was born in 1606, and placed as a difciple with Guido, in whofe fcheol he became 
 fo eminent, by imitating the ftyle of compofition and colouring peculiar to his mafter, 
 that he was appointed principal painter to the Duke of Modena. 
 
 His 
 
 * Mr. Defcamps fays he died in 1583, but Sandrart and others fay he died in 1593. 
 
B O L 
 
 C 75 ] 
 
 BOM 
 
 His manner of defign was exceedingly pleafmg, his tafte of compofition was elegant, 
 and his colouring had abundance of delicacy. His fubjects were taken from facred or 
 profane hiftory; and his defign, his tints of colour, and the becoming airs of his figures, 
 evidently (hewed that noble fchool which formed his tafte, and directed his pencil. 
 
 Francisco BOLOGNESE. 
 Painted Hiftory and Landscape. 
 
 DIED l68o, AGED 74. 
 
 The name of this eminent painter was Francifco Grimaldi, but he is beft known by 
 the appellation of Bolognefe. He was born at Bologna, in 1606, where he became a 
 difciple of Annibal Caracci, and proved an honour to that illuftrious mafter. 
 
 From the fchooi of Annibal he went to complete his ftudies at Rome, and improved 
 himfelf daily, by copying the works of thofe artifts in which he obferved the greateft 
 excellence, until his fuperior talents recommended him to the favour of Innocent X. 
 who afforded him immediate opportunities of exerting his genius, in the gallery of his 
 Palace at Monte Cavallo, and alfo in the Vatican. The merit of his performances very 
 foon engaged the attention and applaufe of the public, and increafed the number of his 
 admirers and friends, among whom were the Prince Pamphilio, and many of the principal 
 Nobility of Rome ; Louis XIV. and Cardinal Mazarine in France; and at his return to 
 Italy, the Popes Alexander VII. and Clement IX. 
 
 His genius directed him to ftudy landfcape, which he executed raoft happily. His 
 colouring is ftrong, his touch light and delicate ; his fituations are uncommonly pleafing, 
 and the leafing of his trees is admirable. Sometimes, indeed, his colouring appears 
 rather too green ; but thofe landfcapes which he painted in the manner of the Caracci, 
 may ferve as models for all thofe who admire the ftyle of that fchool, and he defigned his 
 figures in an elegant tafte. 
 
 The pictures of this mafter are very infrequent, efpecially thofe of his beft time ; and 
 whenever they are to be purchafed, they afford large prices. He had a fon, whofe name was 
 
 Alexander, 
 
 Who proved a good painter, in the fame ftyle and tafte with his father, though very 
 far inferior to him j and yet fome of the pictures of Alexander are either artfully or 
 injudicioufly afcribed to Francifco. 
 
 Sebastian BOMBELLI. 
 
 Painted Hiftory and Portrait. 
 
 died 1685, aged 50. 
 
 : This painter, according to the Chronological Tables, was born at Udino, though 
 other writers affirm that he was born at Bologna, in 1635, and learned the art of 
 
 painting 
 
BON 
 
 C 76 ] 
 
 BON 
 
 painting in the fchool of Guercino. His progrefs under that able inftructor was 
 remarkably rapid ; fo that in a fhort time he perfe£ted himfelf in the peculiar manner of 
 his matter. He therefore quitted that fchool and went to Venice, in order to obferve the 
 various ftyles of the Venetian artifts, as he feemed unwilling to adhere to the manner of 
 any particular mafter, and after mature reflection, was affected fo ftrongly by the majefty 
 in the compofitions of Paolo Veronefe, and the grandeur of Tintoretto, that he preferred 
 them to all others ; and the copies which he finiftied after the originals of thofe admirable 
 artifts, as alfo fome of his own original dcfigns, were, by the ableft judges, exceedingly 
 commended. 
 
 Sandrart fays that he would undoubtedly have arrived at great eminence in hiftory, if 
 he had not been allured away from purfuing that branch of his profeffion, and, even 
 againft his inclination, prevailed on to devote his talents to the painting of portraits. 
 For, by a peculiar fweetnefs and mellownefs of colour in his pictures, by the graceful 
 refemblance obfervable in the countenances, and by the beauty of his carnations equal to 
 life, he gained univerfal approbation, and was folicited for more of his work than he 
 could poffibly execute. 
 
 He was invited, by the German Emperor, to his Court at Vienna, where he painted 
 the portraits of the Imperial family; and was alfo employed by the Electors of Bavaria 
 and Brunfwick, the King of Denmark, the Dukes of Florence, Parma, and Mantua, 
 and by a great number of Princes in every part of Europe t being not only honoured by 
 them all, but likewife defervedly enriched. 
 
 Venetiano BONEFACIO. 
 Fainted Hiftory. 
 
 DIED 1630, AGED 62. 
 
 He was a difciple of the elder Palma, who moft fuccefsfully imitated the maimer, the 
 colouring, and the pencil of his mafter ; and he copied the works of Palma, with a 
 degree of accuracy that is fcarce conceivable, fo that it is almoft impoffible to diftinguifh 
 between the work of the mafter and the difciple, even at this day. He was born in 1568. 
 
 Alessandro BONVINCINO, called Le Moretto. 
 Painted Hi/lory and Portrait. 
 
 DIED I564, AGED 50. 
 
 He was born at Rovate, in 15 14, and was the difciple of Titian, under whofe 
 direction he ftudied diligently for fome years. But having accidentally feen the defigns 
 of Raphael, he felt an elevation of mind that he never had before experienced. He 
 therefore gave himfelf up entirely to ftudy thofe mafter-pieces of art and genius; and his 
 obfervations were guided with fuch judgment as well as attention, that his improvement 
 was truly fuprifing, and he became an exceeding good painter. 
 
BOO 
 
 r 77 ] 
 
 BOO 
 
 His works were eagerly bought up, as being extremely admired for the tendernefs of 
 the penciling, for the corre&nefs and fpirited expreffion of the figures, for the neatnefs 
 of the finiftiing, and for the rich variety of his draperies, which ufually confifted of 
 velvets, damaiks, or fatins, all copied after nature, and being wonderfully imitated. 
 
 He was alfo equally excellent in portrait, and by many was placed in competition even 
 with Titian, 
 
 Daniel BOON. 
 
 Painted Drolls and Conversations* 
 DIED 1698. 
 
 He was born in Holland, but went to England, and fettled there, in the reign of King 
 Charles II. 
 
 His fubjects were always taken from the loweft and meaneft nature ; and it feemed to be 
 ■the utmoft of his ambition, to excite laughter by uglinefs, grimace, and deformity. He 
 painted both in a large and a fmall fize, and in fome of his characters exprefled ftrongly 
 a great deal of droll humour and low pleafantry. 
 
 Arnold BOONEN. 
 Painted Portrait. 
 
 DIED 1729, AGED 60. 
 
 He was born at Dort, in 1669, and at firft was a difciple of Arnold V erbuis, a painter 
 of hiftory and portrait ; but afterwards he placed himfelf with Godfrey Schalcken, and 
 continued with that artift for fix years j at which time Schalcken declared he could 
 teach him no farther, recommending him only to ftudy nature : and Boonen, by carefully 
 following his advice, obtained the reputation of being a great mafter, when he was only 
 twenty-five years of age. 
 
 The lweetnefs of his colouring, and the neatnefs of his touch, with a ftriking likenefs 
 in his portraits, procured him a number of admirers. He painted in the manner of his 
 mafter, particularly fubjecls by candle-light, which were very delicate and very natural j 
 and much more of his work was requefted by the lovers of the art, than it was poflible 
 for him to undertake. 
 
 He had the honour to paint the portraits of the Czar of Mufcovy, of Frederick f. 
 King of Pruffia, of the victorious Duke of Marlborough, as well as many of the Princes 
 of Germany, and moft of the Noblemen who attended the Czar. 
 
 His ftyle of colouring was extremely good, and he had an elegant manner of difpofing 
 the attitudes of his figures \ his handling was neat, and the whole had lb much harmony, 
 that he was juftly ranked among the ableft artifts of his time. 
 
 The fmall pictures of Boonen are in the tafte of his mafter Schalcken ; but his 
 exceffive application, to anfwer the multitude of his engagements, impaired his health, 
 and deftroyed him, while it enriched him. 
 
 M Henry 
 
BOR 
 
 I 7« ] 
 
 Henry Vander BORCHT. 
 
 Painted Fruit and Flowers. 
 
 DIED l660, AGED JJ. 
 
 He was born at Bruffels, in 1583, and was a difciple o£ Giles Valkenburgh; but he 
 completed his ftudies in Italy, and, at his return to his own country, his performances 
 were held in coniiderable efteem. 
 
 He was remarkably fond of antique curiofities, antj had a thorough knowledge of their 
 intrinfic worth; on which aqcount he was highly regarded, by the memorable Earl of 
 Arundel, and received a commiflion from that nobleman, to procure for him in Italy 
 whatfoever rarities he could meet with that were purchafable; and he difcharged that truft 
 to his own honour, and the fat is faction of his employer. 
 
 He continued In England for feveral years, where his paintings were well efteemed, and 
 he was employed in the feryice of King Charles II. till he retired to Antwerp, where he died. 
 
 BORDIE R. Vid. Petitot the Old, 
 
 Paris 3 0RDO.Ni; 
 Painted Hijiory, Portrait, and Architecture* 
 
 DIED I588, AGED *75» 
 
 He was born at Trevigi, in 1513, and at eight years of age was conducted to Venice, 
 where he was carefully educated by one of his relations. At a proper age he was placed 
 as a difciple with Titian, under whom he made fo happy a progrefs, that he did not 
 continue with him many years ; efpecially as he obferved that Titian was not as 
 communicative as he wiftied, or indeed had juft. reafon to expect. He lamented that 
 Giorgione was not then alive to inftruct him, becaufe he preferred the manner of that 
 matter to all others. However, to the utmofl of his power, he ftudied and imitated the 
 ftyle of Giorgione, and very foon rofe into, fuch reputation, that he was appointed to paint 
 a picture in the church of St. Nicholas, when he was only eighteen years of age. 
 
 Some time after he received an invitation to Vincenza, to adorn a gallery with paintings 
 in jtefco; part of which had been formerly enriched by the hand of Titian, with a defign 
 reprefenting the Judgment of Solomon. Bordone engaged in the undertaking with an 
 inward fatisfaction, as his work was to be contrafted with the work of his mafter; and he 
 compofed the hiftory of Npah and his fons, which he finifhed with his utmoft care; nor 
 was it efteemed inferior to the work of Titian, both performances feeming to have been 
 the product of one pencil, 
 
 He likewife finifhed feveral confiderable works at Venice and Trevigi, and in each 
 city painted many portraits of the nobility and perfons of diftinction. But, in the year 
 
 1538, 
 
 * Felibien, the Chronological Tables, and the author of the Abrege, affirm that Bordone died at the age of 65 5 but 
 where that painter is mentioned by Vafari in the Life of Titian, it is faid he died when he was 75 years old. Vol. iii.p. 23a. 
 
B O k 
 
 t 79 J 
 
 B O k 
 
 4 538, he entered into the fervice of Francis I. of France, and added continually to his 
 reputation, by every hiftorical fubject and portrait which he finifhed, as they were 
 excellently defigned, and had a charming tone of colour to recommend them. 
 
 On his quitting France, he vifited the principal cities of Italy, and left a number of 
 memorable works, as monuments of his extraordinary abilities. His colouring has all 
 the appearance of nature, nor can any thing be more lively or more admired than the 
 portraits of Bordone. Several of them are ftill preferved in the Palazzo Pitti, at Florence, 
 of which the colouring is excefiively clear, frefh, and truly beautiful. 
 
 Orazio BORGIANNI. 
 Painted Hi/lory and Portrait. 
 
 DIED l68l, AGED fl. 
 
 He was "born at Rome, in 1630, and learned deiign from Giulio Borgianni his brother; 
 but improved himfelf by ftudying the capital performances of the ancient and modern 
 artifts, which he was enabled to contemplate every day in his native city. 
 
 Having had an offer from a nobleman, of travelling with him in a tour through Europe, 
 he willingly accepted of it, from a defire of being acquainted with the different cuftoms 
 and manners of different nations. But his progrefs was flopped by his falling in love 
 with a young woman in Spain, to whom he was afterwards married ; and finding his 
 circumftances reduced to a narrow compafs, he applied himfelf to his profeffion with 
 double diligence, to procure a -comfortable fupport. His endeavours were foon fuccefsful ; 
 and he was happy enough to find many friends, admirers, and employers, and was 
 accounted one of the beft painters in Spain. 
 
 After the death of his wife, having then no attachment to that country, he returned to 
 Rome, and painted fome hiftorical fubjects larger than life 5 but the figures being above 
 his accuftomed fize, fhewed a want of corredtnefs in feveral of the members, which made 
 his pictures not quite acceptable to the refined tafte of the Roman fchool. However he 
 was engaged in fome great works for the chapels and convents, and alfo to paint portraits, 
 by Which he acquired honour, and lived in affluence. 
 
 He died heart-broken with melancholy, by the ill treatment he received, through the 
 envy and villainy of one Celio a painter, who proved a moft malicious competitor ; and to 
 whom he had often been preferred, by the beft judges of painting at Rome. But he died, 
 lamented and pitied by every worthy man of his profeffion. 
 
 Luciano BORZONI. 
 
 Painted Hi/lory and Portrait. 
 
 DIED 1645, AGED 55. 
 
 He was born at Genoa, in 1590, and excelled equally in portrait and hiftory. The 
 early manner of this mafter was faulty and incorrect; but his fecond was grand and 
 graceful; his expreffion was good, and his colouring ftrong and natural. 
 
 M 2 John 
 
3 O R 
 
 [ 80 ] 
 
 BOS 
 
 John Baptist BORZONI. 
 
 Painted Perfpeclive and Hi/lory. 
 
 DIED 1654. 
 
 He was one of the fons of Luciano Borzoni, who being inftructed by his father, painted 
 hiftory in the fame ftyle of colouring and defign, with figures as large as life; and he often 
 painted perfpeclive views of palaces, gardens, and public edifices, with good fuccefst 
 
 Carlo BORZONI. 
 Painted Portrait. 
 
 DIED 1657. 
 
 This painter was another fon of Luciano, who painted portraits in the manner of his 
 father, and gained an extraordinary reputation. 
 
 Francisco Maria BORZONL 
 Painted Land/capes. 
 died 1679, aged 54. 
 
 He was born at Genoa, in 1625, the youngeft fon of Luciano; and although he received 
 his inftruction in the art of painting from his father, whofe greateft excellence confifted in 
 hiftorical painting, yet the genius of Francifco inclined him to landfcape, in which ftyle he 
 became very eminent. 
 
 He generally introduced views of the fea and fhipwrecks, and imitated the ftyles of 
 Claude Lorraine and Gafpar Pouflin, with fuccefs. His compofition is good; his iites are 
 pleafing; his trees are delicately, yet freely touched; his colouring is tender, frefh, and 
 has great truth ; and his pictures have a truly fine effect. 
 
 For feveral years he was employed and honoured at the French Court; and his works 
 at the Louvre, and other palaces, have a fufficient degree of merit to maintain his reputation* 
 
 Jerom BOS. 
 Painted Devils, Witches, Temptations of St. Anthony, and Hi/lory. 
 
 died 1500. 
 
 He was born at Bois-le-Duc, and feemed to have a peculiar pleafure in painting fpectres, 
 devils, and enchantments; and although he poflefled connderable powers as a painter, as 
 well in the freedom of his touch as in the ftrength of colouring, yet his pictures rather 
 excite a horror mixed with admiration, than any degree of real delight. 
 
 When he viewed the Efcurial in Spain, and confidered the wonderful performances of 
 Raphael, Buonaroti, Lionardo da Vinci, Correggio and Titian, with which that palace is 
 invaluably enriched, he defpaired of producing any thing comparable to them, in their 
 
 different 
 
BOS 
 
 [ 81 ] 
 
 BOS 
 
 different ftyles. He therefore fixed upon a ftyle differing from all, which was full of 
 fancy, whim, and wildnefs of imagination; and his fubjecls, though allegorical, were filled 
 with demons and unufual forms of apparitions and objects that were thoroughly difagreeabie. 
 The raoft remarkable painting of this matter's hand, among feveral others in the 
 Efcurial, is an allegory of the pleafures of the flefli; in which he reprefents the principal 
 figure in a carriage drawn by mpnftrous imaginary forms, preceded by Demons, and 
 followed by Death. 
 
 As to his manner, it was lefs ftiff than that of moil of the painters of his time; and 
 his draperies were in a better tafte, more fimple, and with lefs famenefs, than any of his 
 cotemporaries. He painted on a white ground, which he fo managed as to give a degree 
 of tranfparence to his colours, and the appearance of more warmth. He laid on his 
 colours lightly, and fo placed them, even at the firft touch of his pencil, as to give them 
 their proper efFect, without difturbing them; and his touch was full of fpirit. It is very 
 remarkable that although his fubjec"t.s are frequently difagreeabie, his pictures have always 
 been much efteemed, and yield confiderable prices. 
 
 * Lewis Janssen BOS. 
 Painted Flowers and Portrait. 
 
 DIED I507. 
 
 He was born at Bois-le-Duc; and having been carefully inftrucled in the art of painting 
 hy the artifts of his native city, he applied himfelf entirely to ftudy after nature, and 
 rendered himfelf very eminent for the truth of his colouring, and the neatnefs of his 
 handling. 
 
 His favourite fubjects were flowers and curious plants, which he ufually reprefented as 
 grouped in glafies, or vafes of cryftal, half filled with water; and gave them fo lovely a 
 look of nature, that it feemed fcarcely poffible to exprefs them with greater truth or delicacy. 
 
 It was frequent with this mafter, to reprefent the drops of dew on the leaves of his 
 objects, which he executed with an uncommon tranfparence; and embellilhed his fubjecls 
 with butterflies, bees, wafps> and other infects, which Sandrart fays, were fuperior to- 
 any thing of that kind performed by his cotemporary artifts. 
 
 He likewife painted portraits with very great fuccefs, and fhewed as much merit in 
 that ftyle, as he did in his cornpofitions of ftill life. 
 
 Gas par Vander BOSS. 
 Painted Ships, Sea Views, Calms, and Storms, 
 
 DIED 1666, AGED 32. 
 
 .He was born at Hoorn, in 16.34, and mewed an early genius to the art of painting, 
 As he advanced in knowledge and practice, he diftinguilhed himfelf by the goodnefs of 
 
 his 
 
 * Mr. De'camps calls this painter John Lewis de Bos, but Sandrart names him Lewis- Janflen Bos ; and yet each, of 
 thofe authors profefs to follow the fame guide, Charles Van Mander. 
 
BOS 
 
 t 82 ] 
 
 BOS 
 
 "his compofition, by a light free touch, by a pleafing tint of colour, and a very artful 
 manner of handling ; infomuch that Bronkhorft, an able painter, and a competent judge, 
 faid he had not feen better performances of any mafter than thofe of Bofs. 
 
 He worked with indefatigable application, which probably impaired his health, for he 
 died in the bloom of life, univerfally regretted. 
 
 Balthasar Vanden BOSCH. 
 Painted Converfations and Portraits. 
 
 DIED I715, AGED 40. 
 
 He was born at Antwerp, in 1675, and was placed under the care of one Thomas, 
 whofe fubjecls were apartments with figures, in the manner of Teniers j and he decorated 
 the infides of thofe apartments with buftos, vafes, pictures, and other curiofities, which 
 fort of fubjects were at that time in great requeft. 
 
 Bofch ftudied the fame manner of painting, and with great fuccefs; but the connoifleurs 
 and his friends advifed him to employ his pencil on fubje&s of a more elegant and 
 elevated kind j becaufe it feemed a little abfurd, to fee apartments defigned with fo much 
 magnificence, and fo richly ornamented, occupied by perfons fo mean and vulgar in their 
 appearance as the figures generally reprefented. 
 
 Bofch profited by the advice, and foon acquired a different ftyle of defign and elegance 
 in his compofition, which afforded more pleafure to the eye, and more value to his 
 productions. He alfo painted portraits with a great deal of reputation, particularly a 
 portrait of the Duke of Marlborough on horfeback, which gained him all the applaufe 
 that he could poffibly defire. The horfe was painted by Van Bloemen. 
 
 His paintings rofe to a moft extravagant price, and were at that time more dear than 
 thofe of Teniers or Oftade. Some of his works have true merit, being very good in 
 the compofition and defign, and alfo in refpe£t of the colouring j and the forms of his 
 figures were more elegant than moft of Iris cotemporaries. His fubjecls were judicioufly 
 chofen, and for the-mqft part they were fculptors or painters, furrounded with pictures or 
 buftos of marble, brafs, Or plaifter, to which he gave abundance of variety, and a great 
 degree of truth. His pencil is light, his touch fpirited, and his figures are drefied in 
 the mode of the time. 
 
 However, notwithstanding he poflefled fo much merit, as Is generally and juftly 
 afcribed to him, his works cannot enter into competition with thofe of Oftade or Teniers \ 
 nor is he now efteemed as he formerly had been, even by his own countrymen. 
 
 Thomas Willeborts BOSSCHART. 
 Painted Hi/lory and Portraits. 
 DIED 1667, AGED 54. 
 
 He was born at Bergen-op-Zoon, in 1613, and at firft was inftru&ed by an ordinary 
 painter in that city j but having too great a natural genius to be content with fuch a 
 
 mafter, 
 
BOS 
 
 r *3 3 
 
 BOS 
 
 mafter, he quitted him, and went to ftudy at Rome, where he became the difciple of 
 Gerard Segers, and lived with him for four years ; till, by the care of that artift, he was 
 fo remarkably improved, that his performances met with general approbation. 
 
 He mewed a fine tafte of defign, and was very correct: his touch was free and full of 
 fpirit, his colouring had tranfparence and truth, and his carnations had fo much of 
 foftnefs and life, that he was thought to approach near to Vandyck in portrait and hiftory; 
 fo that his works were eagerly purchafed. 
 
 His fingular merit recommended him to the favour of the Prince of Orange, who not 
 only bought up all that could be procured of his paintings, but he alfo engaged B.oiTchart 
 in his fervice for feveral years. 
 
 The large picture at the Hague, which emblematically reprefents War and Peace, and 
 the Martyrdom of St. George, in the great church, which were painted by this mafter, 
 are highly commended for gooduefs of expreflion, for excellent colouring, and for being 
 exquiiitely finifhed, 
 
 Andrea BOSCOLI. 
 
 Painted Hi/lorp. 
 
 DIED l6o_6, AGED 53. 
 
 He was born at Florence, in 1553, and was a difciple of Santi di Titi. He rendered 
 himfelf famous by having a juft notion of the chiaro-fcuro, and ufing it fuccefsfully in 
 the Florentine fchool, where, before his time, it had not been well underftood ; though 
 Giorgione at Venice, and alfo Titian,, had eftablifhed, it as a principle of the art, and 
 made the happieft ufe of it in their works fome years before Bofcoli. 
 
 He had a great freedom of; hand, with a furprifing force of colour; and the grandeur 
 of his ftyle in defign and compofition, refembled that of his mafter. He ftudied after 
 nature; and, wherever he travelled, had always a book with blank paper, to fketch any 
 particular objects that gave him pleafure, in order to preferve the ideas of thofe objects 
 whenever he wanted to introduce them in his defigns. But happening, at Loretto, to 
 furvey the flight fortifications of that city with particular attention, and being obferved 
 while he was bufy in drawing a fketch of them, he was inftantly feized by the officers 
 of juftice^ and condemned to be hanged; which fentence would certainly have been 
 executed in a few hours, if Signor Bandini had not interpofed in his behalf, and explained 
 to the chief magiftrate the innocent intention of the painter. 
 
 Jacob Vanden BOSCH, 
 Painted Still Life,. 
 
 DIED 1676, AGED 40. 
 
 This artift was born at Amfterdam, in 1636, and painted fummer fruits of various 
 kinds, peaches, pears, apples, plums, nectarines, and cherries, with extraordinary neatnefs of 
 
 <j pencil* 
 
B O T 
 
 C 84 ] 
 
 B O T 
 
 pencil. He painted all his objects after nature, and imitated every fort of fruit with fo 
 great truth and delicacy, with fuch natural and tranfparent colour, that they appeared 
 delicious, and almoft real. 
 
 John BOTH. 
 
 Painted Landscape. 
 
 % DIED 165O, AGED 40. 
 
 • •. v ; -u ■ "■' , '.- I ", '.' ' '' i '*'-;,!/' '*v'.,'.v •».'£.' ''"* *' ■? ' V ■''* >.■- 
 
 Houbraken cenfures De Piles and Felibien, for mifcalling the names of the two 
 brothers, John and Henry ; and alfo for their affirming that Henry was the landfcape- 
 painter, and John the painter of figures ; whereas the direct contrary is the truth. And 
 Houbraken afferts, that, from fufficient and inconteftable authority, he knows the name 
 of the landfcape-painter to be John, and the other Andrew ; and in this cafe, I think the 
 authority of Houbraken preferable to the other writers. 
 
 John Both was born at Utrecht, in 1610, and was the difciple of Abraham Bloemart, 
 who at the fame time inftructed Andrew, the brother of John Both; but to perfect 
 themfelves in a good tafte of defign, they Went together to Rome, and refided there for 
 a great many years. 
 
 The genius of John directed him to the ftudy of landfcape, in which he rofe almoft 
 to the higheft perfection, making the ftyle of Claude Lorraine his model ; and by many 
 his works are mentioned in competition even with thofe of Claude. The warmth of his 
 ikies, the judicious and regular receding of the objects, and the fweetnefs of his diftances, 
 afford the eye a degree of pleafure, fuperior to what we feel on viewing the works of 
 almoft any other artift. 
 
 John and Andrew had very different talents, and each of them were admirable in their 
 different way. The former excelled in landfcape, the latter inferted the figures, which 
 he defigned in the manner of Bamboccio ; and thofe figures are always fo well adapted, 
 that every picture feemed only the work of one mafter. The works of thefe affociate 
 brothers are juftly admired through all Europe; they are univerfally fought for, and 
 purchafed at very large prices. 
 
 Moft of his pictures are, for fize, between two and five feet long; but in thofe that 
 are fmaller, there is exquifite neatnefs. They generally exprefs the funny light of the 
 morning, breaking out from behind woods, hills, or mountains, and diffufing a warm 
 glow over the fkies, trees, and the whole face of nature ; or elfe a fun-fet, with a lovely 
 tinge in the clouds, every object beautifully partaking of a proper degree of natural 
 illumination. And it is to be obferved, that even the different hours of the day are 
 perceptible in his landfcapes, from the propriety of the tints which he ufes. 
 
 By fome connoiffeurs he is cenfured for having too much of the tawny in his colouring, 
 and that the leafings of his trees are too yellow, approaching to faffron; but this is not 
 a general fault in his pictures, though fome of them, accidentally, may juftly be liable to 
 that criticifm, for he corrected that fault; and many of his pictures are no more tinged 
 
 o with 
 
BOT 
 
 C 8* J 
 
 BOT 
 
 with thofe colours, than truth and beautiful nature will juftify; and his colouring 
 obtained for him the diftinction which he ftill pofleffes, of being called Both of Italy. 
 
 Defcamps, in the life of Both, fays that John painted Iandfcapes, and Andrew figures, 
 in the manner of Bamboccio ; and yet, in a following paragraph, he aflerts that Andrew 
 was drowned in a canal at Venice, and John returned to Utrecht ; in which account he 
 appears to follow Sandrart ; though other writers agree, that it was the landfcape-painter 
 who was drowned, and Andrew, returning to his own country, painted converfations and 
 portraits as long as he lived, of which the other was incapable. 
 
 Houbraken mentions a picture of this mafter, in the pofleffion of Mr. de Jode, at 
 the. Hague, which is fix feet high, and efteemed the mafter-piece of Both. The figures 
 are large, and the ftory reprelented is that of Mercury and Argus ; the back part is^ 
 exceedingly clear, the verdure true nature, and the whole admirably handled. 
 
 The two brothers mutually affifted each other till the death of John j and then Andrew 
 retired from Italy, and fettled in his own country.. 
 
 Andrew BOTH. 
 Painted Landfcapes^ Figures^ and Portrait. 
 died 1656. 
 
 After the death of his brother John, he fettled at Utrecht, and continued to paint 
 fometimes portraits, fometimes Iandfcapes, in the manner of his brother, and alfo 
 converfations, and player-, at cards, in the manner of Bamboccio. 
 
 Both of thofe mailers had extraordinary readinefs of hand, and a free, light, fweet 
 pencil; and that they were expeditious, may be evident from the great number of pictures 
 which they finifhed. Andrew, during the remainder of his life, had as much employment 
 as he poflibly could execute ; but was fo affected by the melancholy death of his brother, 
 that he furvived him only a few years. 
 
 Sandro or Alessandro BOTICELLO. 
 Painted Hijlory and Portrait. 
 
 DIED I515, AGED 78. 
 
 He was born at Florence, in 1437; an< ^ Dem g placed as a difciple with Filippo 
 Lippi, he imitated that mafter, as well in his defign as colouring. He performed feveral 
 conliderable works at Florence, and feveral at Rome, by which he gained great 
 reputation ; at the former, a Venus rifing* from the fea, and alfo a Venus adorned by the 
 Graces j and at the latter, he painted facred fubjects from the New Teftament, which 
 at that time were very much commended. He obtained great honour by his performances 
 in the chapel of Sixtus IV. for which he was very amply rewarded ; and for the family 
 of the Medici he finiflied fome portraits, and many hiftorical compofitions. 
 
 N It 
 
B O U 
 
 [ 86 J 
 
 B O U 
 
 It was cuftomary with this matter to introduce a great number of figures in all the 
 fubjects he defigned, and he difpofed them with tolerable judgment and propriety ; but in 
 one of his defigns, reprefenting the Adoration of the Magi, the variety and the multitude 
 of his figures are aftonifhing. 
 
 Louis BOULLONGNE, the Old. 
 
 Painted Hijlory. 
 
 DIED 1674, AGED 65. 
 
 The principal accomplimments of this mafter, who was born at Paris, in 1609, 
 confifted in his ability to copy the works of the raoft celebrated ancient painters. The 
 fimilitude between his pictures and the originals was fcarcely credible j and it hath 
 often furprifed and puzzled fome of the moll expert judges. 
 
 However he painted hiftorical fubjects of his own invention and defignj and in the 
 church of Notre Dame, at Paris, there are three of his compofitions ; St. Paul at Ephefus, 
 the Martyrdom of St. Paul, and the Prefentation of Chrift in the Temple. 
 
 Bon BOULLONGNE. 
 
 Painted Hijlory, Portrait, Landscape, and Pajlici. 
 
 DIED 1717? AGED 68. 
 
 He was the fon and difciple of Louis, born at Paris, in 1649, and painted hiftory and 
 landfcape with fuccefs ; but the moft remarkable part of his merit was, that, like his 
 father, he could imitate the works of the greateft matters, and fucceeded in it to admiration, 
 as he had the fkill to give his own pictures the look and appearance of ancient paintings. 
 
 He copied a picture of Guido's with fuch amazing exactnefs, that even Mignard 
 pronounced it peremptorily to be of Guido's own hand ; and he copied another after 
 Perino del Vaga, which, in every refpect, is fo like, as to make it impoffibl to diftinguifli 
 it from the original. 
 
 Certainly facts like thefe, which frequently occur, and are well attefted, ought to 
 inftruct modern connoifleurs to be lefs pofitive in their opinions of the authenticity of 
 pictures, and more modeft in their aflertions of their infallible knowledge of hands. 
 
 Louis BOULLONGNE, Chevalier, The Young. 
 
 Painted Hijlory. 
 DIED I734> AGED 80. 
 
 He was the younger brother of Bon, born at Paris, in 1654, and inftructed in the art 
 of painting by his father. As he had a good natural genius, and great induftry, he 
 afforded very early proofs of his abilities, and at the age of eighteen obtained the firft 
 prize in the Academy ; on which account he was fent to Rome, to improve himfelf in 
 compofition and defign. He 
 
BOU [ 87 ] BOU 
 
 He continued at Rome for five years, and employed his time to the beft purpofe, 
 fketching the works of the greateft mafters, and particularly copying the works of 
 Raphael ; and feveral of thole copies, on his return to France, were executed in 
 tapeftries. 
 
 Louis XIV. honoured this mafter with many marks of his favour and efteem : he 
 employed him at Fontainbleau and Trianon; allowed him a conliderable penfionj 
 conferred on him the order of St. Michael ; and, after the death of Anthony Coypel, 
 appointed him principal painter, and ennobled Boullongne and all his defcendants. 
 
 In all the performances of this mafter, it might eafily be obferved, that he had ftudied 
 the eminent mafters with judgment and care; his colouring was ftrong, his compofition 
 was in a good ftyle, the airs of his heads had expreflion and character, and his figures 
 were defigned with competent correctnefs. 
 
 Among many hiftorical paintings of this mafter, two are particularly diftinguiftied, 
 which are in the church of Notre Dame at Paris ; the one is Chrift and the Centurion, 
 and the other is the Good Samaritan. 
 
 Sebastian BOURDON. 
 Painted Hijiory^ Landfcape, and Portrait. 
 
 * DIED 167I, AGED 55. 
 
 Bourdon was born at Montpelier, in 161 6 ; and in feveral branches of his art was an 
 excellent painter, but principally in landfcape. He had a fertile genius, yet feemed to 
 want ftrength of judgment to guide and regulate the wantonnefs of his imagination. 
 
 The firft rudiments of the art were taught him by his father, who was a painter on 
 glafs ; but he ftudied under another artift at Paris, who was a perfon of no great note, 
 and yet the force of his own genius amply fupplied him with thofe powers which he 
 could not procure from his preceptors. 
 
 At eighteen years of age he travelled to Rome, to acquire a better tafte of defign and 
 enlarge his knowledge ; and having only looked on a picture painted by Claude Lorraine, 
 he copied it by the ftrength of his memory, to the furprife of Claude himfelf, and of 
 feveral others who were able judges. He alfo imitated the ftyle and compofition of 
 Andrea Sacchi and Correggio ; and with great fuccefs adapted his pencil to the delicate 
 manner of Bamboccio. 
 
 After a refidence for three years in Italy, and being for fome time in the fervice of 
 Queen Chriftina of Sweden, he returned to his own country, excellently qualified, and 
 finiftied that celebrated picture which is in the church of Notre Dame at Paris, when 
 he was only twenty-feven years of age. 
 
 N 2 He 
 
 * The mod authentic writers fix the birth of Bourdon in 1616, and his death in 1671, at the age of 55, particularly 
 the authors of the Abtege, &c. Yet De Piles and the Chronological Tables fix his birth in 1602, and his death ia 
 j662 } at the age of 60 j and Pere Reita fays he was born in 1617, and died in 1673., at the age of 54.. 
 
BOU 
 
 I 88 ] 
 
 E O 17 
 
 He had an uncommon readinefs of hand, though he was frequently incorrect, and was 
 particularly fo in the extremities of his figures. As a proof of his expeditious manner 
 of painting, it is reported, that in one day he painted twelve portraits after life, as large 
 as nature, and thofe not-the worft of his performances. 
 
 His touch is extremely light, his colouring good, his attitudes are full of variety, and 
 fometimes graceful, and his exprefiion is lively and animated^ However, it muft be 
 confeffed, that his conceptions were often extravagant, nor would many of his compofitions 
 abide a critical examination. 
 
 His landfcapes are in the tafte of Titian, but they feem rather defigned from imagination 
 than after nature ; yet, in feveral of them, the product of that imagination has a beautiful 
 effect j and he ufually enriched his paftoral fcenes with a great number of figures and 
 animals. His pictures are feldom finiflied, and thofe which appear moft fo, are not 
 always his beft. 
 
 The moft efteemed work of Bourdon is the Martyrdom of St. Peter, in the church of 
 Notre Dame at Paris, which is confidered as a curiofity. 
 
 Giacomo Cortesi, called BOURGUIGNON, or Borgognone. 
 
 Painted Battles and Hijlory. 
 
 T>IED 1676, AGED 55. 
 
 This admirable artift was born at St. Hippolito, in Franche Comte, in 1621, and 
 was inftructed by feveral mafters, but did not imitate the ftyle of any one of them. He 
 compofed hiftorical fubjects in a grand and elegant tafte; but his principal fubjects were 
 battles, and thofe he executed with fuch fpirit, freedom, and fire, as rendered him fuperior 
 to all others in that ftyle. 
 
 For fome years he held a confiderable poft in the army, and there formed his animated 
 ideas, from actions of which he had been an eye-witnefs in the field. When he quitted 
 the army, he placed himfelf under the direction of Jeronymo, a Lorrainefe painter, 
 where Guido, having accidentally feen fome of his defigns, conceived a great efteem for 
 him, and took delight in giving him the beft precepts for his improvement ; as alio did 
 Aibano, when he obferved the extenfivenefs of the genius of Bourguignon : and that 
 artift had fufficient judgment to make a moft happy ufe of the advice of thofe eminent 
 mafters in all his fubfequent works. 
 
 His pencil is uncommonly bold and free, his defign full of inimitable fire and elevation 
 of thought, and his colouring hath fo great a degree of force, as to add life to every 
 object. He was, in all kinds of compofition fo expert an artift, that he never found 
 it neceflary to make even a fketch or defign of the fubjects he intended to paint j but 
 he juft marked the canvas with the point of his pencil, and finiflied his work without 
 farther hefitation. 
 
 The paintings of this matter are eafy to be diftinguiihed, by any one who will 
 Attentively obferve the peculiar life, motion, fpirit, and action of his horfes and figures, 
 
 the 
 
BOU 
 
 [ 89 ] 
 
 BRA 
 
 the freedom of his touch, the boldnefs of his handling, the vigour of his colouring, and 
 the truth of his exprefiion. 
 
 In the Palazzo Pitti, at Florence, there are four battle-pieces painted by Bour- 
 guignon in a noble ftyle. They are of a large fize, between eight and nine feet 
 long ; but the figures are fmall, being only from fix to eight inches high. Thofe 
 paintings are incomparably beautiful, the colouring has an aftonifhing force, the freedom 
 alfo and fpirit of the penciling are truly admirable j but they have too great a blacknefs, 
 though perhaps the darknefs of that tint may have been increafed by time. 
 
 Francis BOUT. Vid. Bodewyns. 
 BOWER. Vid. Baur. 
 
 Reinier BRAKENBURG. 
 
 Painted Landfcapes and Converfations. 
 born in 1649. 
 
 He was born at Haerlem, and placed as a difciple under Mommers ; but it is the 
 opinion of Houbraken, that he ftudied afterwards under Bernard Schendel. 
 
 His fubjects were like thofe of Brouwer j and he refembled that mafter, not only in his 
 genius and ftyle of compofition, but alfo in his morals and manner of life, both of thofe 
 artifts being ingenious and diflblute. Yet in fome of his pictures it feems as if he defired 
 to imitate Oftade. 
 
 He defigned his figures after nature, and reprefented them in the habit and mode of 
 the times. His fubjects were the feafts of boors, the amufements of the villagers, 
 kermefles, dancings, and very frequently converfations, in which love and wine were 
 never omitted. His compofitions are ingenious, and full of variety, as to actions and 
 attitudes; though the forms of his men and women are always the fame, always copied 
 from low nature, without elegance of choice. His colouring is ftrong and natural, his 
 touch lively and firm ; only it were to be wifhed that he had a better tafte of defign. 
 
 The pictures of his latter time are often not fo carefully executed, and particularly 
 in the extremities. 
 
 Leonard BRAMER. 
 
 Painted Hi/lory^ with a number of rich Vafes* 
 BORN IN 1596. 
 
 He was born at Delft, but learned the art of painting in the fchool of Rembrandt, and 
 imitated the manner of his mafter in fmall. In the eighteenth year of his age, he went 
 to Rome for his improvement; but, although he continued in Italy for fome years, and 
 acquired fomewhat in his ftyle, rather more graceful than Rembrandt, yet he could never 
 divert himfelf of the Flemifh gout* 
 
 He 
 
BRA 
 
 C 90 1 
 
 BRA 
 
 He had a fine tafte of defign; his expreflion is generally good, and in fome of his 
 eompofitions truly noble. His pencil is delicate, and his colouring very peculiar in the 
 tints, being aifo remarkably thin in many parts, fo as barely to cover the panel ; yet, by 
 great Hull in the management of the chiaro-fcuro, his colouring is bright, bold, and full 
 ofluftre; particularly in the vafes, which he was fond of introducing in every fubject 
 that could admit them, as he knew how to give them a rich and fine relievo. He had 
 accuftomed himfelf to paint with a very thin body of colour, efpecially in the browns and 
 lhadowy parts, in order to give his pictures a greater tranfparence. 
 
 At Venice, Naples, Florence, Mantua, and other cities of Italy, as well as at Rome, he 
 left many proofs of his extraordinary merit, which rendered his name defervedly famous ; 
 and his works are rarely to be met with out of Italy, where he painted moft; but whenever 
 they are to be purchafed, they are bought at confiderable prices, if they are entire and. 
 undamaged. 
 
 One of the moft capital pictures of Bramer is, the Raifing of Lazarus, in which there 
 is a charming oppofition of light and fhadow; and another is the Denial of St. Peter; they 
 are both painted in his beft manner ; they are bright, tranfparent, and finely penciled, and 
 are ftill preferved at Rome. Likewife at the palace of Ryfwick there are feveral valuable 
 paintings by this mafter, in which the invention and execution are highly commendable. 
 But none of his works can be more admired, than a fmall picture on copper, reprefenting 
 the ftory of Pyramus and Thifbe. 
 
 Peter BRANDEL. 
 
 Painied Portrait and Hi/lory. 
 
 DIED I739> AGED 79. 
 
 He was born at Prague, in 1660, and at fifteen years of age became a difciple of John 
 Schroeter, principal painter at that Court. When he had fpent about four years in that 
 fchool, Schroeter had opportunities of obferving the rifing merit of his pupil, and that he 
 was in reality a better artift than himfelf; which probably occafioned their feparation foon 
 after. For Brandel had received direction from his mafter to paint a fmall altar-piece; 
 and Schroeter, going in the evening to fee how far the work was advanced, perceived his 
 difciple at a window, unemployed; and without looking at the picture, which was already 
 finifhed, he infulted him in fevere terms for idling: which unmerited ill treatment 
 Brandel immediately refented, quitted his fchool, and commenced a mafter himfelf. 
 
 Moft of the churches at Prague and Breflau are embellifhed with his works ; and the 
 Prince of Hazfeld gave him an hundred ducats for one picture of St. Jerome at half- 
 length. He fpent the greateft part of his life at Prague, and might have been exceedingly 
 enriched by his performances, if he had not wafted his acquisitions by profufion, and an 
 irregular conduct; but he died very poor, and was buried by charitable contributions.—- 
 However, the Jefuits and Monks paid a proper refpeit to his talents and his memory, by 
 
 appointing 
 
BRA 
 
 [ 9* ] 
 
 BRA 
 
 appointing for him a folemn funeral proceflion, in which three hundred tapers of wax 
 were carried by ecclefiaftics ; a mark of public efteem, which did as much honour to the 
 tafte of the times, as to the memory of the artift. 
 
 He had a good genius, and confulted nature ; his invention was ready ; his manner of 
 painting was expeditious; and, although he defigned with great eafe, he avoided loading 
 his compofitions. His colouring is natural, except that in his fliadows he was fometimes 
 too black i and his pencil was broad, eafy, and very free. 
 
 Giacinto BRANDI. 
 Painted Hijiory. 
 
 DIED 169I, AGED 68. 
 
 He was born at Poli, about twenty miles from Rome, in 1623, and at firft was inftrucled 
 in the art by Algardej but afterwards by Giacomo Sementa of Bologna, who painted in 
 the manner of Guido. 
 
 In a few years, after he had quitted the fchool of Sementa, he rofe into reputation, and 
 was employed in many of the churches and palaces at Rome, and the neighbouring cities; 
 but although he appeared to have a great fhare of merit in particular parts of his profeflion, 
 yet in others he was but very indifferent, if not contemptible. Befides, he always feem«d 
 •to have much lefs attention to his fame, than to his fortune ; and was more remarkable for 
 his avarice, than his excellence. He had, indeed, a lively genius, and a free pencil ; but 
 he was very incorrecT:, and his colouring was but weak, and not agreeable. 
 
 The daughter of this painter was married to the celebrated Rofa da Tivoli, of whom 
 Giacinto conceived a mean opinion, becaufe Rofa painted nothing but beafts. However 
 that contemptuous behaviour made fo ftrong an impreflion on the mind of Rofa, that to 
 requite it in fome meafure^ he bought all forts of clothes proper for his bride, and laid 
 them in her apartment; and riling very early, the morning after his marriage, he collected 
 every article that his wife had worn, not excepting even her fhift, and packing all up 
 together, he fent them back to her father; letting him know at the fame time, that his 
 daughter's perfon was fortune enough to make her hufband happy, and that a good painter 
 of beafts was as likely to grow rich, as a bad painter of men. 
 
 Gregory BRANDMULLER. 
 Painted Hi/lory and Portrait. 
 
 DIED 169I, AGED 30. 
 
 He is confidered among the Germans as an artift of the firft rank, and was born at Bafle, 
 in 1 66 1. He acquired the knowledge of defign by ftudying and copying fome good prints, 
 which were in the poffeffion of his father j and from the appearance of his having a ftrong 
 natural genius, he was placed as a difciple with Cafpar Meyer. 
 
 5 When 
 
BRA 
 
 [ 92 j 
 
 BRA 
 
 When he quitted Bafle, he went to Paris, and had the good fortune to be received into 
 the fchool of Le Brun; and the variety of works in which that eminent mafter was 
 employed, proved an excellent means of inftruclion to the young artift. He pleafed Le 
 Brun exceedingly by the progrefs he made, fo that he was intrufted with feveral defigns, 
 under the immediate infpection of that great painter; but the particular refpect and 
 preference fliewn by the mafter to the difciple, excited the envy and jealoufy of others to 
 fuch a degree, as might have been attended with unhappy confequences, if Brandmuller 
 had not retired to his own country; though not before he had obtained the prize in the 
 Royal Academy at Paris. 
 
 He excelled in hiftory and portrait, and his genius refembled that of Le Brun; his 
 fubjects being full of fire, and treated with elevation and grandeur. His defign is 
 correct, and his expreflion animated and juft. He had a good method of colouring, laying 
 on each mafs in fo proper a manner as to avoid breaking or torturing his tints; which 
 made his colours retain their original beauty and ftrength without fading. 
 
 He was fond of painting portraits in an hiftorical ftyle; and was generally commended 
 for the refemblance of the perfons who were his models,, and the agreeable tafte in his 
 compofitions. 
 
 Solomon De BRAY. 
 Painted Portrait. 
 
 DIED 1664, AGED 67. 
 
 He was born at Haerlem, in *i 597, and is reckoned among the good artifts of his 
 time. He painted a great number of portraits in a fmall as well as in a large fize, for 
 perfons of the greateft diftinclion in the Netherlands ; and he gained much honour by 
 educating and inftructing his fon in his own profeflion, who afterwards became a very 
 eminent painter. 
 
 Jacob De BRAY. 
 Painted Hijlory. 
 
 f HE WAS ALIVE IN l68o. 
 
 This mafter was the fon and difciple of Solomon de Bray, born likewife at Haerlem, 
 and diftinguiftied himfelf exceedingly by his drawings, as well as his paintings. 
 
 At Amfterdam there is a picture by this artift, reprefenting David playing before the 
 Ark, which is mentioned by writers in the higheft terms of commendation. It is finiflied 
 with a neat clean touch, and the colouring is fo happily managed, that it appears as frefli 
 as if it had but newly come from the eafel. 
 
 He 
 
 * Mr. Defcamps fixes his birth in 1579. 
 
 f Mr. Defcamps fays, that Jacob de Bray died fome weeks before his father, in 1664 j but other writers affirm that he 
 was alive in 16S0. 
 
B R E 
 
 [ 93 ] 
 
 B R E 
 
 He fhewed uncommon ikill in defigning and drawing naked figures ; but his drawings 
 On vellum and paper are extremely fine and highly valued. They are finifhed in red and 
 black chalk, and many of them are preferved in the collection of Mr. Ifaac Delcourt, at 
 Amfterdam. 
 
 BRECKBERG. Vid. Berkheyden. 
 
 Peter Van BREDA, or Bredaei. 
 
 Painted Landfcapes and Cattle. 
 
 DIED l68l, AGED 51. 
 
 He was born at Antwerp, in 1630 ; ftudied landfcape after nature, and adorned his 
 defigns with figures that were correctly drawn, and grouped with judgment. His grounds 
 are well broken, and the trees and waters, which he always fketched upon the fpot, have 
 abundance of truth, are remarkable for clearnefs and good handling; and his fcenes arc 
 generally enriched with elegant Roman buildings, fountains, monuments, and ruins. His 
 ftyle refembled that of John Brueghel, but almoft in every refpect he is far inferior to 
 that matter. 
 
 John Van BREDA. 
 
 Painted Hi/lory, Landfcape^ and Conventions. 
 
 DIED 1750, AGED 67. 
 
 He was born at Antwerp, in 1683, the fon of Alexander Van Breda, an artift who .was 
 much efteemed for landfcapes, views of particular fcenes in Italy, fairs and markets, with 
 a variety of animals and figures. He was inftructed by his father; and having the 
 advantage of a good example, and a good director, added to his own great application, he 
 continued his ftudies with his father till he was eighteen years of age. 
 
 Among the variety of capital paintings which were at that time in the poffeffion of John 
 de Wit, at Antwerp, Breda fixed upon thofe of Velvet Brueghel, which he copied with 
 extraordinary fuccefs; and he was alfo employed for nine years in copying the pictures 
 of feveral other great matters, which he performed with fuch incredible exadtnefs, as 
 fcarcely to leave it in the power of any judicious perfon to diftinguifli the originals from 
 the copies. 
 
 Having at length eftablifhed his reputation in Holland, he went to London with 
 Ryfbrack the fculptor; and there gradually rofe into fuch efteem, that he was vifited by 
 perfons of the higheft rank, and particularly patronifed by the unfortunate Earl of Derwent- 
 water, who was beheaded for rebellion in 1 7 15. He found fo much encouragement in 
 London, that he was employed by the Court and the Nobility, and could fcarce execute 
 the large demands for his performances. 
 
 After a refidence of fome years in England, he returned to Antwerp, loaded with 
 riches, the honourable teftimonies of Englifh liberality, as well as of his own merit; and 
 
 O in 
 
BRE 
 
 C 94- ] 
 
 BRE 
 
 in the year 1746, when Lewis XIV. arrived in that city, he fo far honoured this mafter, 
 as to purchafe four of his pictures. One reprefented Chrift at the Sea of Tiberias 5 
 another, Chrift performing miracles; and the other two were landfcapes, with a number 
 of figures fo exquifitely drawn and finifhed, that it would be difficult to diftinguifb. 
 them from thofe of the Velvet Brueghel. 
 
 He certainly approached nearer to thofe great mafters whofe manner he imitated, namely, 
 Brueghel and Wouwermans, than any other artift of his time. His landfcapes are in 
 the ftyle and tafte of the former ; and his converfations, hiftorical figures, fairs, ikirmifhes, 
 or battles, are in the manner of the latter. His colouring is good, his touch neat, his 
 ikies and diftances natural and beautiful, and his tafte of defign agreeable. 
 
 He had as much fire in his compofition, and perhaps more genius, than Brueghel, in 
 thofe fubjects which he painted in the ftyle of that mafter ; his figures are generally well 
 placed, his grounds fkilfuliy broken ; every fmall figure hath its particular character, and 
 occupies its proper place ; and in fhort, he is a painter of fuch a rank, that the value and 
 eftimation of his works muft always increafe. 
 
 Peter Van BREDAEL. Vid. Peter Breda. 
 
 Bartholomew BREENBERG, called Bartolomeo» 
 Painted Landfcape^ Hi/lory^ and Conversations. 
 
 DIED 1660, AGED 4O. 
 
 He was born at Utrecht, in 1620, but went early to Rome; and is beft known by the 
 name of Bartolomeo, a diftinguifhing appellation given him by the fociety of Flemifh 
 painters at Rome, called Bentvogels. 
 
 He ftudied landicape after nature, in the environs of that city, and acquired an elegant 
 and charming tafte. The vaft quantity of fuperb and amazing ruins which he continually 
 beheld, afforded him a variety of moft beautiful objects to adorn his landfcapes; and 
 even the trees and fhrubs about Tivoli and Frefcati are ^admirably adapted to painting, 
 as well in their form as in their colour. 
 
 The figures which he introduced in his landfcapes are always well executed, and 
 difpofed with an elegant propriety; fo alfo are the animals, which he touched with 
 extraordinary fpirit and freedom. He moftly painted in a fmall fize; and therefore, 
 whenever he attempted a larger, his figures are not fo correct:. 
 
 His firft manner was rather too black, but his fecond is better coloured, better finifhed, 
 and abundantly fuperior to the other; particularly on account of the ultramarine, and 
 the colours of a better kind, which he ufed in the latter part of his life. His touch is 
 light and fpirited, his tone of colouring exceedingly pleafing, his tafte entirely of the 
 Roman School, and his pictures have both force and delicacy. He embellifhed his 
 landfcapes with hiftorical fubjects, and his works are always diftinguifhed by elegant 
 architecture or ruins, in the true Greek and Roman tafte. The figures in his compofitions 
 
 3 are 
 
BRE [ 95 ] BRE 
 
 are gracefully proportioned and defigned ; their draperies are eafy and ornamental ; and 
 even in his fmalleft figures, the expremon is lively, fenfible, and natural. The pictures 
 ©f this mafter are exceedingly rare, and highly valued. 
 
 Charles BREYDEL, called Cavalier. 
 Painted Landscape* 
 DIED 1744, AGED 67. 
 
 He was horn at Antwerp, in 1677, and at firft was the difciple of old Ryfbrack, the 
 landfcape-painter, with whom he continued for three years ; and, by his dole application 
 to practice during that time, he was enabled to commence painter. 
 
 He intended to have improved himfelf by going to Italy, but was accidentally detained 
 at Frankfort and Nuremberg, where his paintings happened to be much admired. He 
 had a brother, Francis Breydel, who refided at the Court of Heffe Caffel, with whom he 
 fpent two years, being retained in the fervice of that Prince i and afterwards he went to 
 Amfterdam, where he copied feveral views of the Rhine, from the defigns of Griffier, 
 by which his colouring, his penciling, and tafte of defign, were altered extremely for 
 the better. He was curious enough to furvey thofe profpedts of the Rhine on the fpot, 
 which he had copied before ; fo that the works of Griffier ought to be confidered as his 
 fecond and belt fchool. 
 
 At laft he fettled at Ghent, where the public were exceedingly pleafed with his 
 performances ; and he might have enriched himfelf by his pencil, if he had conducted 
 himfelf with difcretion, for every one that was curious feemed eager to have fomewhat 
 of his hand. But by his extravagance and pride in his drefs, furniture, and table, he only 
 ftudied how to earn money moft expeditiouily ; and, for that purpofe, often painted flight, 
 fmall, and inconfiderable pictures, whofe merit was barely proportioned to the prices he 
 was to receive for them. And by that means, a number of his pictures, though really 
 genuine, feem unworthy of that pencil which had painted others fo vaftly fuperior to 
 them in defign and execution. 
 
 For feven or eight years before his death he was feverely afflicted with the gout j and 
 although he worked when he had intervals of eafe, yet he did not paint with the fame 
 fpirit, the fame delicate finifhing, or the fame firmnefs of touch, as in his better time. 
 
 His works are generally obferved to have two manners. While the ideas and ftyle of 
 Griffier were his models, his pictures had true merit and excellent colour. His fubjects 
 at that time were views of the Rhine, with boats and a number of figures and animals, 
 well defigned and neatly executed. This manner he fuddenly changed, to imitate Velvet 
 Brueghel, whofe works were at that time univerfally admired. His fubjects in this 
 latter ftyle are battles, fieges, and encampments ; and although he was often only a 
 copier of the prints of Vandermeulen, fometimes taking whole figures as well as defigns 
 from the compofitions of that mafter, yet he afterwards compofed very readily in that 
 ftyle, without being indebted to any other artift. 
 
 O 2 The 
 
BRE C9^J BR I 
 
 The pictures of his beft time are full of fpirit, his touch is firm and well adapted to 
 his ftyle, his defign is correct; and if he had been more exact in confulting and imitating 
 nature, to acquire a general correctnefs, his works would be defer vedly eftimable» 
 Some of them, indeed, appear too laboured, but others are full of harmony. 
 
 Francis BREYDEL. 
 
 Painted Portraits and Conversations, 
 
 DIED 1750, AGED 71. 
 
 He was born at Antwerp, in 1679 ; and it is generally fuppofed that he was a difcrple 
 of old Ryfbrack, as well as his brother Charles; but he chofe very different fubjects; for, 
 at an early time of life, he painted portraits with fo great fuccefs, that he was appointed 
 painter to the Court of Hefle-Caflel, where his works were very much efteemed. 
 
 His genius was not limited to portraits only, but he alfo painted converfations, feafts, 
 alTemblies, and carnavals; which fubjects he obferved to be very pleafing to the lovers 
 of the art, and on that account he was induced to paint a great many in that ftyle. 
 However, from a levity of temper, he quitted the Court of Hefle, where he was exceedingly 
 carefied, and went to England, where probably he found fufficient encouragement, as 
 he continued there for feveral years along with his friend Vandermyn. 
 
 His converfations, and other compositions, are finely executed, agreeably coloured, and 
 well difpofed ; and thofe pictures of his hand are moft preferred where he has endeavoured 
 give a proper variety to his figures. In thofe the drefles are ufually in the mode of the 
 time; the perfons reprefented are of different ranks and occupations, mixed with fome of 
 the military order; and through the whole there is an appearance of nature, truth, and a 
 great deal of fpirit. 
 
 Matthew BRIL. 
 Painted Landfcape and Hijlory. 
 
 DIED I584, AGED 34. 
 
 Very few particulars relative to the life of this matter are mentioned by the different 
 writers on this fubject ; but the moft material are, that he was born at Antwerp, in 
 j 550, and learned the rudiments of his art in that city; that he went to ftudy at Rome, 
 and in a very few years manifefted fo much merit in landfcape and hiftory, that Pope 
 Gregory XIII. employed him to work in the Vatican, and allowed him an honourable 
 penfion as long as he lived.. 
 
 Paul BRIL. 
 Painted Landfcapes> in large and fmalL 
 
 DIED 1626, AGED 72. 
 
 This excellent artift, brother to Matthew Bril, was born at Antwerp, in i554> but 
 bred to the profeffion of painting under Daniel Voltelmans. From the time of his 
 
 quitting 
 
R I E 97 3 B R 1 
 
 quitting that matter till he went to Italy, his manner was rather ftiff, his pictures had z 
 predominant brown and yellow tinge, and his defign and colouring were equally 
 indifferent. But when he vihted his brother Matthew at Rome, and there faw the works 
 of Titian and Caracci, he altered his Flemifh manner entirely, and fixed upon a ftyle 
 that was abundantly pleafing, with a charming tone of colour. 
 
 The penfion and employment which his brother pofleiTed at the Vatican was conferred 
 upon Paul ; and he fo far furpaffed him, that he daily rofe in his reputation, till he was 
 confidered as the firft in his profeffion. Annibal Caracci generally painted the figures 
 in his landfcapes, and by that means increafed their value to a very high degree. 
 
 His manner of painting is true, fweet, and tender; the touchings of his trees are firm, 
 and yet delicate ; his fcenery, his fituations, and diftances, are admirable, moft of them 
 being taken from nature; and the maffes of his light and fhadow are ftrong, and very 
 judicious; though, in fome of his fmall eafel pictures, he maybe fometimes accounted 
 rather too green, or at leaft more greenifh than could be wifhed. It is remarked of him, 
 that, in the latter part of his life, his landfcapes were always of a fmall fize ; but they 
 are beautiful and exquilitely finiflied, and frequently he painted them on copper. 
 
 The genuine works of this eminent mafter are now rarely to be met with, efpecially 
 thofe of the larger fize, and they afford prices that are extremely high in every part of 
 Europe. Sandrart obferves, that in his time the pictures of Paul Bril were eagerly 
 coveted in all countries where the polite arts are encouraged; that abundance of purchafers 
 appeared at the public fales, ambitious to pofiefs them; and that very large fums of money 
 were given for them whenever they could be procured. And it feems that their intrinfic 
 value is not diminifhed, f nee, a very few years ago, one of the landfcapes of this mafter 
 fold in Holland for 160I. and another, at an auction in London, for 120 guineas or 
 upwards, and yet they were deemed to be cheaply purchafed. 
 
 A large landfcape by Paul Bril, in his beft manner, with figures and goats by one of 
 the Caracci, the fcene being taken from nature, on the banks of the Tyber, is in the 
 poffeflion of the author of this book. 
 
 Cornelius BRIZE. 
 Painted Still Life and Muftcal Jnjlruments. 
 
 Thofe fubjects to which this painter found his genius adapted, fuch as the reprefentation 
 of bafs-relief, armour, fhields, weapons, and volumes lying open, he finifhed in a manner 
 that was really curious ; and he grouped his objects with all the art, elegance, and 
 judgment, that the nature of his fubjects would admit. 
 
 There is a picture of his hand in the Old Man's Hofpital at Amfterdam, in which 
 he has fhewn extraordinary merit, the fubject of it is Old-age perfecuted by Poverty: 
 the figures are painted by Grebber, the ftill life by Brize, and both are accounted 
 excellent. 
 
 Francesco 
 
B R I 
 
 C 98 ] 
 
 Francesco BRIZIO. 
 
 Painted Architecture and Landfcape. 
 
 DIED 1623, AGED 49. 
 
 He was born at Bologna, in 1574, and received his firft inftrudtions in the fchool of 
 Paflerotti, but afterwards became the difciple of Ludovico Caracci. 
 
 He ftudied the principles of perfpective and architecture with indefatigable application, 
 and arrived at fuch a degree of excellence in his compofitions in that ftyle, that his work 
 was viewed with univerfal approbation. His pictures were not only admired for the 
 truth of the perfpective, and the beauty of his colouring, but alfo for the grandeur of his 
 ideas, the majeftic ftyle of the architecture, the elegance of the ornaments, and the noble 
 tafte of landfcape which he introduced to fet off his buildings. 
 
 Elias Vanden BROEK. 
 Painted Fruity Flowers, and Serpents* 
 died 17 i i, aged 54. 
 He was born at Antwerp, in 1657, was the firft and beft difciple of Erncft * Stuven, 
 and painted in a loofe, eafy, and natural manner, all forts of fruit, flowers, frogs, and 
 reptiles. From his manner of handling, it feemed very probable that he had been 
 inftru&ed by De Heem, or at leaft ftudied the works of that mafter diligently. 
 
 He dcfigned and coloured every object after nature; and that he might have his models 
 always ready, he furnifhed his garden with every fpecies of fruit, flowers, or animals, 
 that he was accuftomed to imitate. 
 
 B R O E R S. 
 
 Painted Converfations, Fairs, and Markets. 
 
 Though the fubjecls which this mafter chofe to paint were of the loweft kind, yet he 
 executed them with a great deal of truth, livelinefs, and humour. He was particularly 
 attentive to exprefs the manners, drefs, and unpolifhed forms of the boors in his own 
 country, Holland, and he. performed it with a ftrong character of nature. 
 
 He had a light clean touch, and a free manner of penciling; and he always grouped his 
 iigures with lingular fkill. His keeping was remarkably good in the back grounds, trees, 
 and diftances, and the whole together in his compofitions produced an agreeable effect. 
 
 Peter BRONCHORST. 
 
 Painted Perfpeftive and Hi/lory. 
 
 DIED l66l, AGED 73. 
 
 He was born at Delft, in 1588, and learned the art of painting in that city; but the 
 mafter under whom he ftudied is not mentioned. His fubjedls were views of ancient 
 
 and 
 
 * Houbraken fays he was the difciple of Stuven, and ftudied De Heem j but Mr. Defcamps fays he was the difciple 
 of Mignon. 
 
BRO 
 
 C 99 ] 
 
 BRO 
 
 and modern churches, filled with hiftorical figures, which he executed with great fuccefs ; 
 and the number as well as the variety of his figures, agreeably contributed to enliven his 
 pictures. 
 
 In the council-chamber at Delft, there is a noble compofition by this mafter, reprefenting 
 the Judgment of Solomon, and another of Chrift driving the Money-changers out of the 
 Temple i both of them are defcribed as being very fine performances, the architecture 
 elegant, and the figures carefully finimed. 
 
 John Van BRONCHORST, 
 
 Painted Hi/lory and Landfcape* 
 
 He was born at Utrecht, in 1603, and placed under the direction of John Verburg, while 
 he was very young, as he difcovered an extraordinary genius before he was eleven years of 
 age. He went afterwards to Brabant, in order to proceed to France ; but he ltopped in his 
 journey with Peter Mattys, a painter on glafs, with whom he continued for fome time, and 
 affifted him in feveral capital works. 
 
 At his return to his own country he was much employed, and yet he feemed diflatisfied 
 with his own productions; for they appeared inferior to thofe elevated ideas which he had 
 formed in his mind of the finer parts of his art. But having at laft fortunately met with 
 Cornelius Poelemburg, he was fo charmed with his tafte of defign, his penciling and colour, 
 that he immediately devoted himfelf to imitate that great mafter entirely. 
 
 Till his thirty-iixth year he painted on glafs ; but after that time he painted in oil, in 
 the manner of Poelemburg ; and by the neatnefs and high finiftiing of his works, as well 
 as by the elegant choice of his fubjects, he obtained a lafting reputation. 
 
 In the choir of the new church at Amfterdam, there are three of his paintings on glafs, 
 which are fhewn as curiofities; and in the fame church, on the folding-doors of the organ, 
 are three hiftorical paintings in oil, the triumph of David over Goliath, the anointing of 
 Saul, and the attempt of Saul to kill David while he was playing on the Harp; all of 
 them excellently performed. 
 
 John BRONCHORST. 
 
 Painted Birds, and Animals, in Water -colours* 
 
 DIED I723, AGED 75. 
 
 He was born at Leyden, in 1648, and intended for an occupation far inferior to the 
 profeflion of painting; but his love to that art fuperfeded all other confiderations, and he 
 made it his principal ftudy. He had no particular mafter ; but the power of his own 
 genius, and his inceflant application, enabled him to diftinguifh himfelf as one of the 
 moft eminent painters of his time in water-colours. 
 
 His fubjects were birds and animals of all kinds, wiid and tame, w^ich he copied after 
 jiature, with uncommon life, exactnefs 3 and expreffion* 
 
 BRONZINOa 
 
BRO 
 
 C 100 ] 
 
 BRO 
 
 BRONZINO. Vid. Allori. 
 AgnoloBRONZINO. 
 
 c 
 
 Painted Hijiory and Portrait. 
 DIED I580, AGED 69. 
 
 He was born at Florence, in 15115 and was the difciple of Puntormo, with whom he 
 ftudied defign and colouring, and continued with him for feveral years, till he fo effectually 
 acquired the ftyle and manner of that mafter, and imitated his works with fo much 
 exaclnefs, that the paintings of the one were frequently fuppofed to have been the paintings 
 of the other. And it feemed fomewhat furprifing at that time, that Bronzino fucceeded 
 fo happily in the imitation of his mafter's manner; as the general behaviour of that artift 
 to his pupils was morofe and unfociable, and he rarely permitted any of them to fee him 
 finifh his pictures. But the perfeverance and obliging temper of Bronzino fubdued the 
 peevifhnefs and referve of Puntormo fo far, that he loved that difciple as if he had been 
 his own fon, and afforded him opportunities of improvement, which he denied to others. 
 
 His firft public performances afforded fufficient proofs of his extraordinary abilities; 
 procured him the approbation of the beft judges ; and every new work contributed to 
 extend and eftablifti his reputation. Among a number of his paintings at Florence, a 
 Nativity is mentioned as an incomparable performance; and alfo a Venus embracing Cupid, 
 attended on one fide by mirthful Loves, and on the other by Jealoufy, Fraud, and other 
 paflions, allegorically reprefented. The compofition and finifhing in both were worthy of 
 the higheft praife ; and the latter was fent to Francis the French King. 
 
 Puntormo dying before he had finifhed the chapel of St. Lorenzo at Florence, the Duke 
 appointed Bronzino to complete that noble work; and in many refpects he evinced a 
 judgment fuperior even to his mafter, with an execution that was equally delicate.— 
 Bronzino was likewife truly admirable in portrait-painting, and diftinguifhed himfelf 
 highly in thofe of Andrea Doria, Dante, Boccace, and Petrarch; as he afterwards did, by the 
 portraits of all the illuftrious perfons of the houfe of Medici. 
 
 His works at Florence, Pefaro, and Pifa, are lafting monuments of his merit; and the 
 many amiable qualities of his mind engaged the affections of all, as long as he lived; and 
 made his memory refpected after his death. 
 
 His tafte of defign was always grand, though frequently his figures were rather too 
 tall. His pencil was neat, but free; his colouring very like that of Puntormo; and in his 
 draperies he imitated the manner of Michael Angelo Buonaroti, having always admired 
 the folds in the draperies of that great mafter. 
 
 Adrian BROUWER, or Brauwer. 
 Painted Drolls and Conversations, 
 
 DIED 164O, AGED 32. 
 
 According to fome biographers, this famous painter was born at Oudenarde; but 
 according to Karel de Moor's account, cited by Houbraken, he was born at Haerlem, in 
 
 5 1608, 
 
BRU 
 
 r iox ] 
 
 BRU 
 
 1608, of poor parentage, and became the difciple of Francis Hals; under whom he proved 
 an inimitable artift, and was one of the moft celebrated painters in the Low Countries. 
 
 His fubjects were taken from low life, and always copied after nature; fuch as droll 
 converfations, feafts, taverns, drunken quarrels, boors playing and difputing at cards, or 
 furgeons drefling the wounded. But his expreffion is fo full of life and character; the 
 management of his colours is fo furprifing; and fo much truth, united with exquiiite 
 high finifhing, corre&nefs of drawing, and wonderful tranfparence, appears in the works 
 of this uncommon genius, that his paintings are more valuable, and afford higher prices, 
 than many of the works of other matters, who are of the greateft eminence. 
 
 Houbraken mentions an incident relative to this artift, which may not be unacceptable 
 to the lovers of painting. It happened, that when Brouwer went to Antwerp, he was taken 
 up as a fpy, and imprifoned in the fame place where the Duke D'Aremberg was confined. 
 That nobleman had an intimate friendfhip with Rubens, who often went to vifit him in his 
 confinement; and the Duke having obferved the genius of Brouwer (by fome flight fketches 
 which he drew with black lead), without knowing who he was, defired Rubens to bring with 
 him, at his next vifit, a palette and pencils for a painter who was in cuftody along with him. 
 
 The materials requifite for painting were given to Brouwer, who took for his fubjecl: 
 a group of foldiers, who were playing at cards in a corner of the prifon; and when the 
 picture was finifhed, and fhewn to Rubens, he cried out, that it was painted by Brouwer, 
 whofe works he had often feen, and as often admired. The Duke, delighted with the 
 difcovery, fet a proper value on the performance; and although Rubens offered fix 
 hundred guilders for it, the Duke would by no means part with it, but prefented the 
 painter with a much larger fum. 
 
 Rubens immediately exerted all his intereft to obtain the enlargement of Brouwer, and 
 procured it by becoming his furety; he took him into his own houfe, clothed and 
 maintained him, and took pains to make the world more acquainted with his merit. But 
 the levity of Brouwer's temper would not fuffer him to continue long with his benefactor, 
 nor would he confider his fituation in any other light than as a ftate of confinement. He 
 therefore quitted Rubens, and died not long after, deftroyed by a diflblute courfe of life, 
 his whole frame being impaired by every kind of vice, intemperance, and diflipation. 
 
 He was buried in a moft poor and obfcure manner at firft; but when Rubens knew it, 
 he had the body taken up, and interred with great funeral pomp, in the church of the 
 Carmelites; and intended to have a fuperb monument erected to his memory, had he lived 
 to fee it executed; though Sandrart fays there was a magnificent monument over his 
 tomb, with an epitaph to perpetuate his honour. 
 
 Peter BRUEGHEL, called the Old, 
 Painted Landfcapes and Drolls. 
 
 DIED I57O, AGED 60. 
 
 He was b>orn at Brueghel, a village near Breda, in 1510, and learned the art of painting 
 from Peter Cock (or Kouc); but having gained a competent knowledge Under that 
 
 P mafter, 
 
B R V 
 
 C 102 1 
 
 matter, he travelled to Italy, to explore fuch fcenes as were more grand and beautiful" 
 than thofe with which he had been converfant in his own country. He ftudied the fites 
 of his landfcapes after nature, and particularly fketched the views of that part of the Alps, 
 which border on the Tirolefe; and in all his fubfequent compofitions might be obferved 
 how much he had profited by the lludies he made in that country. 
 
 He painted almoft every kind of fubject; fometimes fuch as were full of whim and 
 drollery, in the manner of Jerom Bos ; but generally he was fond of reprefenting the 
 marchings of armies, robberies, fkirmifhes, fports, dances, weddings, and drunken 
 quarrels j and often, in the habit of a peafant, he contrived to mix in crowds of the 
 meaner boors, at their feafts and amufements, in order to obferve more exactly their 
 different humours and actions ; by which method he rendered himfelf eminent in that 
 kind of painting. 
 
 He feemed to have been born with a genius peculiarly adapted to the fubjects he 
 reprefented; and whether he painted in oil or diffemper, in a larger or fmaller ilze, his 
 figures were correct, their draperies well chofen ; the heads and hands were touched with 
 fpirit; and his expreflion was true, though not elegant. That work of old Brueghel, 
 which is mentioned as his capital performance, and is in the Emperor's collection at 
 Vienna, was the Reprefentation of the building of the Tower of Babel, by Nimrod; in 
 which he introduced an immenfe number of figures delicately handled, and the diftances 
 were well obferved. He repeated the fame fubjects feveral times in large and in fmall, 
 and finiftied them with equal merit. 
 
 Several of the paintings of this matter are in the cabinets of the Emperor and the 
 Elector Palatine; and there are few parts of Europe where fome of his works are not to 
 be feen. 
 
 Peter Petersz BR U E G H E L, called the Young. 
 Painted PlunderingSyMaJfacreSj Towns on Fire, and Devils* 
 
 DIED 1642, 
 
 This mafter, who was the fon of Peter Brueghel, and the difciple of Gilles Coningfloo 3 
 was born at BrufTels, and is univerfally known by the name of Hellifh Brueghel, on 
 account of the difagreeable fubjects which he delighted to paint. His compofitions rather 
 excite difguft than fatisfaction ; his human figures being little more elegant than his 
 infernal. And although they are freely penciled, and not ill coloured, yet. there are very 
 few who can feel a real pleafure in looking upon them. 
 
 Befides his fondnefs for defcribing imaginary infernal forms, he fcarce ever defigned 
 any hiftorical fubject, except thofe that would admit of introducing witches and devils; 
 fuch as Orpheus charming Pluto and Proferpine to procure the deliverance of Eurydice, 
 furrounded with horrible fhapes and appearances ; Saul and the Witch of Endor ; or 
 Stx Anthony's Temptations, 
 
 John 
 
BRU 
 
 f 103 ] 
 
 B R U 
 
 John BRUEGHEL, called Velvet Brueghel. 
 Painted Flowers, Fruit, and Landfcapes^ with fmall' Figures* 
 
 * DIED 1689, AGED 65. 
 
 He was the fon of Peter Brueghel the Old, and was born at Bruflels in 1560. 
 Authors apparently difagree in regard to his inftructors, and yet the teftimony of each 
 may be founded on fad ; for although fome fay he was taught the principles of painting 
 by his father, and others that he learned to paint in miniature from Peter Van Aalft, and 
 afterwards ftudied the art of painting in oil under Peter Goekindt, it is not improbable 
 that he might have practifed under the direction of all thofe mafters, in fucceffion, and 
 derived a peculiar advantage from each. 
 
 In every part of painting, in colouring, in defign, and in penciling, he proved far 
 fuperior to his father, and indeed to all his cotemporaries in his ftyle ; and was diftinguifhed 
 by the name of Velvet Brueghel, on account of his drefs, which was always of rich 
 velvet. 
 
 At firft his genius directed him to paint fruit and flowers after nature, which he 
 executed with incredible neatnefs and delicacy 5 but, foon after, he painted landfcapes, 
 fea-ports, and markets, with a number of figures, wonderfully exact and correctly drawn, 
 though exceedingly fmall. 
 
 He muft have been uncommonly laborious, to have produced fo many pictures as have 
 appeared from his pencil, when their exquifite neatnefs is confidered, which feems to 
 have required a great deal of time to finifh them in fo high a degree of perfection. His 
 touch is delicate, his figures are correct, and the carriages which he was fond of 
 introducing in his landfcapes, are admirably reprefented. It might however be wiflied, 
 that his diftances had rather lefs of that bluifh tinge which is obfervable in fome of his 
 works. 
 
 Sometimes he painted flowers in garlands or feftoons; and landfcapes, in which Rubens 
 and other eminent mafters inferted the figures ; and at other times he was employed by 
 Steenwyck, Mompert, Rothenamer, and Vanbalen, to adorn their pictures with his 
 figures, which now add abundantly to the value of fuch combined works of thofe 
 mafters. 
 
 P 2 Houbraken 
 
 * There appears to be a great difagreement among authors concerning the birth and death of John Brueghel, 
 Mr. Defcamps fays that he was born about the year 1589, being very young at the death of his father— vol. i. pag. 376 ; 
 and yet, by the account of other writers, the father died ia 1570, which would make it impoflible for him to be bom in 
 that year of 1589, it being 19 years after his father's death. 
 
 The authors of the Abrege de la Vie des Peintres, fix the birth of John Brueghel in 1575, which appears to be five 
 years after the death of old Brueghel, and they fay he died in 1642. But the Chronological Tables date his birth in 1569, 
 one year before the death of his father ; and if fo, he could not have been inftructed by him, though, that he was taught 
 the rudiments of the art by his father, is affirmed by feveral writers. 
 
 It feems therefore moft probable that he was born about the year 1560, and died In 1625, (as the Chronological Tables 
 affert) at the age of 65 j for, by that computation, the obfervation of his being very young when his father died, would be 
 juftifiable, and he would have been of a competent age to have received inftru&ion from him, though he might have 
 .perfected himfelf under other mafters, 
 
 » 
 
BRU 
 
 t m 3 
 
 B R U 
 
 Houbraken takes notice of a picture, three feet high, and four broad, painted by- 
 Brueghel, and fpeaks of it in the highefb terms of praife, as being the admiration of 
 every beholder. So great is the variety of fruits, flowers, and trees on the foreground, 
 that the eye is perfectly bewildered; and although the proportions of the objects are but 
 of a fmall iize in comparifon with nature, yet to the obferver they appear like nature itfelf. 
 Particularly a fig-tree in a large garden pot is remarkably curious ; which appeared fo 
 wonderfully exact in the colouring of the ftem, the branches, and the fruit of different 
 degrees of maturity, that it feemed not the work of the pencil, but of nature. This 
 picture was fold at Amfterdam for 2825 guilders, above 280I. fterling; the figures in it 
 are Vertumnus and Pomona, and they were painted by Rubens. 
 
 In the gallery of the Archiepifcopal Palace at Milan, there is a lovely landfcape of this 
 mafter, reprefenting a defert, in which Giovanni Battifta Crefpi painted the figure of 
 St. Jerom; and among a great number, preferved in the Ambrofian Library in that city, 
 there is an oval picture of the Virgin, painted by Rubens, which is encompafled with a 
 garland of flowers admirably painted by Brueghel. 
 
 Abraham BRUEGHEL, called the Neapolitan. 
 Painted Fruit and Flowers. 
 born in 1672. 
 
 He was born at Antwerp, and travelled to Italy when he was very young, where he 
 diligently applied himfelf to his ftudies, and acquired fuch a reputation, that his works 
 were eagerly fought for, and purchafed at large prices, not only at Rome, but alfo at 
 Naples, and other parts of Italy. And it was allowed by the moft able judges, that he 
 had improved himfelf more at Rome than any other artifts of his own country. 
 
 He conftantly made nature his model; his objects are reprefented with elegance and truth, 
 with a warm and natural colouring, with a broad and free touch, the genuine mark of a 
 ready and expert hand; and his works are ranked among thofe of the moft admired painters. 
 
 He acquired a confiderable fortune by his profeflion; but unhappily confiding it to the 
 care of a merchant who proved difhoneft, he loft his whole fubftance, and loft alfo his life> 
 by a continual grief for his misfortune. 
 
 Charles Le BRUN, Chevalier. 
 
 Painted Hijlory and Portrait. 
 
 DIED 169O, AGED 71. 
 
 This truly great painter was born at Paris, in 1619, and was placed as a difciple with 
 Vouet, when he had only arrived at his eleventh year; but he finifhed his ftudies at 
 Rome, where he fpent fix years in making proper obfervations on the antique ftatues, 
 and the beft paintings, and gradually eftablifhed a reputation equal to the greateft of the 
 modern artifts. 
 
 He 
 
B R V 
 
 [ 105 ] 
 
 B U F 
 
 He had a moft extenfive genius, a fruitful and ready invention, a very great knowledge 
 of nature ; and knew how to give a proper expreflion to every character. He always 
 had an high opinion of the tafte of defign peculiar to the Roman fchool, although he did 
 not imitate that tafte ; but in his ftyle and manner feemed rather to follow the gufto of 
 Annibal Caracci. His attitudes are well chofen, natural, and expreflive, and his draperies 
 agreeable, though with any great variety in the folds. 
 
 The manner of colouring which he acquired in the fchool of Vouet, he never could 
 wholly (hake off, not having allowed himfelf fufficient time to viiit Venice, to ftudy the 
 beautiful tints of the Venetian artifts ; and therefore he always retained thofe that were 
 too general. In regard to his lights and madows, they were often not happily diftributed ; 
 and he certainly was indifcreet in not making the foregrounds of many of his pictures 
 fufHciently brown or dark, by which means moft of his works have an efFect, not equal 
 to the dignity of his defign. 
 
 Le Brun mewed abundance of grandeur in the difpofition of his fubject; in all his 
 compofitions he had a particular attention to exprefs the paflions of the foul agreeably to 
 nature, and was an exact obferver of the coftume ; yet his figures frequently are too 
 mort, and there is too much famenefs in his expreflion, his draperies, and his attitudes. 
 His pencil is light and mellow, but his local colours are cenfured by De Piles, as being 
 very indifferent ; and indeed, through his whole pictures, one tint feems to predominate 
 too much, except in fome few of his moft capital performances. It is obferved of him, 
 that the airs of his heads are almoft always the fame, though they are well chofen, and 
 often graceful, and full of elegance, and that his laft works are his beft. 
 
 His diftinguifhed merit procured him the favour of Louis XIV. who appointed him 
 principal painter, conferred on him the order of St. Michael, and frequently honoured 
 Le Brun with his prefence while he was at work on the Battles of Alexander. Thofe 
 battles, which are fo univerfally known and admired, are fufficient to convey a proper 
 idea of his extraordinary abilities, and of the grandeur of his compofition and defign. 
 But though the expreflion of thofe paintings is ftrong, the attitudes happy, and the 
 draperies well fet, yet it muft be confefled that the colouring wants warmth, and by no 
 means correfponds with the noblenefs or the dignity of the defign. 
 
 BRUSASORCI. Vid. Riccio. 
 Roger of Brussels. Vid. Vander Weyde. 
 
 Buonamico BUFFALMACCO. 
 Painted Hijiory-. 
 DIED I34O, AGED 78. 
 
 He was born at Florence, in 1262; and having been for fome years the difciple of 
 Andrea Taffi, was allowed to be very ingenious in his compofitions. He had a fingular 
 
 2 talent 
 
BUG 
 
 r 106 j 
 
 BUN 
 
 talent for droll humour, and is remarkable for being the firft who advifed the ufe of a 
 label drawn from the mouth of a figure, to reprefent that figure as fpeaking, though 
 fentences wrote over the heads of figures had been before practifed by Cimabue. 
 
 Vafari, among many inftances of the drollery of this painter, tells us, that being 
 engaged to paint a picture of a Madonna and Bambino, in frefco, for a citizen in Florence, 
 his employer difputed the payment when the painting was finifhedj but BufFalmacco, 
 without feeming any way difTatisfied, went away, and prepared fome water-colours, with 
 which, very early the next morning, he effaced the Bambino, and painted a young bear in 
 its ftead, on the lap of the Virgin ; which excited fo much ridicule againft the employer, that 
 he fupplicated earneftly to have the work reftored to its original condition ; and, when he 
 had paid the ftipulated fum, Buffalmacco warned away the additional bear with a wet fpunge. 
 
 Being confulted by one Bruno a painter, his particular friend, how he might give 
 more expreflion to his figures, Buffalmacco told him, that nothing more need be done, 
 than to make the words come out of their mouths. The advice was ludicroufly intended, 
 but it was ferioufly underftood by Bruno, who directly put it in practice i and that ridiculous 
 contrivance was introduced by the German painters in all their gothic compofitions of 
 that time. We alfo find that low fpecies of wit or humour fubfift even to this day, 
 particularly in the political defigns of modern artifts in our own country, as well as 
 among the Dutch. 
 
 jGjitliano BUGIARDINI. 
 
 Painted Hijlory and Portrait. 
 
 DIED I5S6, AGED 75. 
 
 He was born at Florence, in 1481 ; and having received fome inftruction from Bertoldo, 
 a fculptor, he was indebted to Michael Angelo Buonaroti for his further improvement, 
 as he was exceedingly beloved by that celebrated artift. 
 
 Some of his works were well efteemed, but his tafte of defign and compofition was 
 very imperfect ; he was incorrect in his drawing, and apt to exprefs the mufcular parts 
 of the human body too hard j and befide that imperfection, his colouring was dry and 
 jJifagreeable. 
 
 Jacop BUNEL, 
 Painted HiJIory. 
 
 BORN IN 15 58. 
 
 He was born at Blois, and became the difciple of Frederick Zucchero. He painted 
 with great reputation at Rome and Paris ; and in the church of the Auguftines, in the 
 latter city, he painted a Defcent of the Holy Ghoft, which Nicolo Pouflin, who was 
 inconteftably a judge ef merit, did not fcruple to prefer to all the paintings in that 
 city. 5 
 
 Torn 
 
C ™7 ] 
 
 BUO 
 
 John Van BUNNIL 
 
 Painted Hijiory and Portrait. 
 
 DIED I727, AGED 73. 
 
 He was born at Utrecht, in 1654, and was a difciple of Herman Sachtleven;- and 
 continued under the direction of that mafter till he proved a confiderable artift. When 
 he had followed his profefiion for fome years, he aflbciated with Gerard Hoet, and painted 
 feveral pictures in conjunction with him ; but being defirous to gain more knowledge, 
 and enlarge his ideas, he determined on a journey to Rome. 
 
 In his paflage through Genoa, he commenced an acquaintance with Peter Molyn, 
 called Tempefta, which detained him there for fome time,, and he painted feveral pictures 
 that gained him very great credit ; and, on his arrival at Rome, he was introduced to 
 Carlo Maratti and Abraham Genoels, from whofe works and inftructive converfation 
 he obtained abundance of improvement. 
 
 Having at length completed his ftudies, and confirmed his hand, he refolved to return 
 to his own country ; but, palling through Modena, the Duke accidentally faw fome of 
 the performances of Bunnik, and admired them fo much, that he engaged that artift in 
 his fervice, with an allowance of an honourable penfion, and retained him for eight 
 years at his Court ; where Bunnik left memorable proofs of his genius and execution. 
 
 He defigned well, difpofed his figures with elegance and propriety, and was correct 
 in his outline. 
 
 Jacob Van BUNNIK. 
 Painted Battles* 
 
 DIED I725. 
 
 He was the brother and difciple of John; and being poffefled of a ready genius, which 
 he cultivated with great application, he became an excellent mafter. His principal 
 improvement was derived from his having travelled with his brother through moft parts 
 of Italy; he had the fame opportunities of forming his tafte, and had difcretion alfo to 
 direct him in making a proper ufe of them. 
 
 The fubjects which he always painted were battles, and in thofe he diftinguifhed 
 himfelf eminently ; but, although in his choice of fubjects he differed from the tafte of 
 his brother, yet, in the manner of his handling and colouring, he refembled him entirely. 
 
 Bernardo BUONT ALENTI, called Girandole, 
 Painted Hijiory and Portrait in Miniature*- 
 
 DIED 1608, AGED 6l. 
 
 This mafter learned correctnefs of defign, and the knowledge of colouring, from Salvati, 
 Bronzino, and Vafari; but the art of painting in miniature he acquired from Julio Clovio. 
 
 His 
 
BUO t 108 ] CAB 
 
 His works were very foon the objects of public admiration, not only for the beauty of 
 the colouring, but alfo for a certain dignity of expreffion in his Madonna's, as well as in 
 his portraits. 
 
 But, befide his merit as a painter, he was exceedingly approved of as a ftatuary and 
 an architect. He was born at Florence, in 1547. 
 
 Pietro BUONACCORSI. Vid. Pierino del Vaga. 
 
 C. 
 
 Adrian Vander CABEL, or Kabel 
 
 Painted Landscape, Sea-ports, and Cattle. 
 
 DIED 1695, AGED 60. 
 
 He was born at Ryfwick, in 1631, and was placed as a difciple with John Van 
 Goyen, by whofe precepts and example he made a progrefs that appeared remarkably 
 rapid, and continued under his direction, till he was qualified to appear with credit in 
 his profeflion. He ftudied every object after nature, and defigned the figures, animals, 
 and buildings, as well as the views of fea-ports and landfcapes, before he inferted any of 
 them in his compofitions. 
 
 According to Houbraken, his name was originally Vander Touw, but altered by Van 
 Goyen to the name of Vander Cabel, by which he is now univerfally known. In his 
 defigning animals and figures, he formed his tafte on that of Caftiglionej but in landfcape 
 he made the ftyle of Salvator Rofa his model. His manner is great, and very much in 
 the gout of the Italian fchool. The touchings of his trees are excellent ; his figures and 
 animals are extremely correct, and marked with fuch a fpirit, as mull always afford 
 pleafure to a judicious eye. But all his pictures are not of an equal degree of merit, 
 fome of them being more negligently executed than others ; though the freedom of his 
 hand, and the firm touch of his pencil, appears in every one of his compofitions. 
 
 In his colouring he was folicitous to imitate the Caracci and Mola j but he indulged 
 himfelf too much in painting with a dark and deep brown tone of colouring, which 
 frequently deftroys the beauty of his defign and compofition. 
 
 Paolo 
 
C A G 
 
 i 109 ] 
 
 C A G 
 
 Paolo CAGLIARI, called Paolo Veronese. 
 Painted Hi/lory. 
 
 DIED I588, AGED 58. 
 
 This great mafter was born at Verona, in * 1530, and was a difciple of Antonio Badile 
 his uncle. He ftudied and imitated nature ; and among all the eminent artifts of his time, 
 he attached himfelf to the manner of Titian with the ftricteft attention. He feems, 
 however, to have neglected the antique, and to have known but little of the true principles 
 of the chiaro-fcuro, though in feveral of his works he feems happily to have hit upon it 
 from the dictates and guidance of his own genius. 
 
 His tafte was better adapted to large than to fmall compofitions; and although in the 
 latter his merit, in refpect of colouring and defign, was fufficiently evident, yet in the 
 former he difplayed all the fire of his imagination, and the fertility as well as the mag- 
 nificence of his invention. In moft of his large works, he was either the aflbciate or the 
 competitor of Tintoretto; nor was the pre-eminence of the one or the other entirely 
 determined; for, though Tintoretto was allowed to have imitated nature with a fuperior 
 degree of force and vivacity, and with more truth of colour, in an incomparable manner; 
 yet Veronefe was acknowledged to have a finer invention, more grace in the airs and 
 countenances of his figures, more dignity in his characters in general, and more univerfal 
 elegance. 
 
 His compofition is peculiarly grand; his defigns are noble; and he executed them 
 agreeably, with abundance of truth and fpirit; but fome judicious writers think that there 
 is an apparent want of delicacy in his* expreflions, either of the fubject in general, or of 
 the pallions in particular, although they were taken from nature. 
 
 The draperies of his figures are modern, defigned after the fafhions of his. time, or the 
 modes of thofe eaftern people who reforted to Venice; but yet thofe draperies are grand, 
 rich, lively, and diverfified; and Sandrart obferves, that, in the diftribution of the folds, he 
 very much adhered to fomewhat of the manner of Albert Durer, whofe defigns he had 
 ftudied in his youth. The airs of his heads are often graceful; but the feet of his figures 
 and the outlines of the naked are generally incorrect, nor are his attitudes always well 
 chofen. However, we may obferve in his works a lively imagination, a very fertile 
 invention, a light and pleafing pencil, and a firm as well as a fpirited execution. . 
 
 He painted a great number of pictures; and although his predominant paflion was the 
 love of fame and glory, yet in many of his paintings he fhewed too great a degree of 
 negligence; adapting the compofition, as well as the finifhing, to the perfons by whom he 
 was employed, or the places for which he worked; and giving them a greater or lefs 
 
 - Q_ proportion 
 
 * De Piles dates the birth of Paolo Cagliari, in 1537, and his death in 1588, and fays he died 58 years old, which 
 muft be an error; for by thofe dates he could have died only at the age of 51. Alfo, in the Abrege de la Vie des Peintres, 
 there is a like miftake; for it is there faid, that Paolo was born in 1532, and died in 1588, being 53 ; though, allowing 
 thofe dates, he could be only 56. But as molt writers agree that he was 58 when he died, and the year of his death 
 inferibed on his monument being J 588, he muft have been born in 1530. 
 
C A G [ #0 J C A G 
 
 proportion of merit, according to the dignity or importance of his employers. His 
 defigns for the altars of the principal churches, or for the ornaments of princely palaces, 
 were as elegant and as perfect as it was poflible for him to make them; but for private 
 perfons, or chapels, the pictures' which he painted were not only inferior to other 
 productions of his own pencil, but to feveral other artifts who were in no competition 
 with him. 
 
 The pictures of Veronefe mewed a good underftanding of the local colours, and his 
 carnations are natural; fxA they are not fo frefh as thofe of Titian, nor are they fo vigorous 
 and fanguine as thofe of Tintoretto^ but there is a charming harmony in his colouring* 
 particularly in his draperies, which are brilliant and magnificent. 
 
 It was a confiderable difadvantage to him that he had not been more converfant with the 
 antique; for when he went to Rome in the train of the procurator Grimani (ambaflador 
 from Venice to the Pope), by only having that opportunity of feeing the works of Raphael, 
 and Michael Angelo Buonaroti, a perceptible improvement in his ftyle was obferved at his 
 return to Venice, and his reputation was fo highly raifed, that the honour of knighthood was 
 conferred on him by the Doge. 
 
 Whenever his fubjecr. would admit of architecture, he appeared always attentive to 
 introduce it, in a ftyle that is truly grand, fo as to add both beauty and richnefs to his 
 defign; and thofe embellifhments of architecture were generally painted by his brother 
 Benedetto, in an admirable tafte. 
 
 The moft capital performance of this mafter is the Marriage at Cana, which is now in 
 the refectory of the Convent of St. George, at Venice; in which Sandrart fays, there are 
 a hundred and fifty heads, if not more. And an exceeding fine picture, of his hand, is at 
 Pefaro, reprefenting the calling of St. Andrew to the Apoftlefhip. 
 
 The procurators of St. Mark propofed a premium of a large gold chain, for the beft 
 picture painted by fix eminent artifts ; which were, Giufeppe Salviati, Battifta Franco, 
 Schiavone, Zelotti, Frafina, and Paolo Veronefe. The perfons appointed to be judges 
 were Titian and Sanfovin; and the honour of fuperiority was determined in favour of Paolo, 
 who was fo proud of the victory, that he ufually wore that gold chain in public as a mark 
 of diftinction. ' 
 
 It fecms highly probable, that many pictures which are afcribed to Paolo Veronefe are 
 not really of his hand, as they appear more rough than his genuine works, and want that' 
 union and harmony for which he is fo defervedly famous; but they may, perhaps, be 
 by his brother Benedetto, or his fon Carletto Cagliari, fince both of them imitated the 
 manner of Paolo. 
 
 Carletto CAGLIARI. 
 
 Painted Hi/iory. 
 
 DIED I596, AGED 26. 
 
 He was the fon of Paolo, born at Venice, in 1570, and gave early proofs of a lively and 
 ftrong genius. By the care and inftruction of his father, he produced fome extraordinary 
 
 performances 
 
 1 
 
C A G [ 111 1 C A G 
 
 performances that gained him a very high reputation, when he was only eighteen years oi 
 age j and it was imagined that he would have been at leaft equal, if not luperior to his 
 father, if he had lived fome few years longer. But by inceflant application to his profeflion, 
 he impaired his conftitution, which from his infancy had been tender, and he died of an 
 impoftumation in his breaft. 
 
 He was employed, as well as his brother Gabriel, to finifh feveral Works which were 
 left imperfect by their father ; and thofe pictures which were of their own defign and 
 execution, are frequently afcribed to Paolo; nor are fome of the beft of them eafdy 
 diftinguifhed from the performances of that great mafter. 
 
 Gabriel CAGLIARL 
 Painted Hijiory and Portrait. 
 
 DIED 1631, AGED 63. 
 
 This painter was alfo a fon of Paolo, born at Venice in 1568; but he had not a very 
 promifing genius, and turned his attention principally to commerce, though at intervals, 
 when unemployed in mercantile affairs, he employed himfelf in painting hiftorical pictures 
 and portraits, but more efpecially the latter, of which he finifhed a confiderable number. 
 
 Benedetto CAGLIARL 
 
 Painted Architecture. 
 
 DIED I598, AGED 60. 
 
 This mafter was the brother of Paolo Veronefe, born at Verona, in 1538. He painted 
 in much the fame ftyle and manner of his brother; but his peculiar excellence confifted in 
 painting architecture, with which he enriched the compofitions of Paolo. 
 
 He was extremely laborious, and remarkably unambitious of diftinguifhing himfelf, fo 
 that his nobleft performances are blended with the works of his brother. However, there 
 are many of his paintings in Venice, defigned and executed with his own hand, which are 
 truly excellent and worthy of admiration. 
 
 CAGNACCI. Vid. Guido Cagnacci. 
 
 Francesco CAIRO, called Cavaliere del Cairo. 
 Painted Hijiory and Portrait. 
 
 DylED 1674, AGED 76. 
 
 He was born at Milan, in 1598, and inftructed in the art of painting by Morazzone„ 
 whofe ftyle he for fome time adopted; but he altered that manner after he had perfected 
 his ftudies at Rome, having there learned to compofe with judgment, to defign in an 
 elevated ftyle, and to give correctnefs, grace, and harmony, to his compofitions. 
 
 2 However, 
 
C A L 
 
 [ 112 J 
 
 CAL 
 
 However, he was defirous to accompliih himfelf ftill more, by ftudying the excellencies 
 of the Venetian fchool, and copying the works of the famous mafters in that city; by which 
 method he acquired a ftrong and lively manner of colouring, and fuch a pencil as hath 
 occafioned feveral of his pictures to be accounted of the hand of Titian, or Paolo Veronefe j 
 and particularly his portraits, which have ftrong life, and true nature. 
 
 He had three different manners of painting, the Milanefe, the Roman, and Venetian j 
 and that extraordinary variety enabled him to recommend himfelf fo effectually to all the 
 lovers of the art, that he was univerfally applauded and employed. 
 
 The Duke of Savoy, Victor Amadeus I. having been made acquainted with the merit 
 of Cairo, invited him to his court, allowed him an honourable penfion, conferred on him, 
 the order of knighthood, and gave him one of the favourite ladies of the court for a wife. 
 
 In a chapel belonging to the church of the barefooted Carmelites at Venice, there is a 
 picture of St. Therefa by this mafter, which is much admired. The colouring is 
 extremely agreeable, and the expreflion remarkably good, though it is not free from fome 
 fmall incorrectnefs. And, in a chapel of the Chartreux at Pavia, there is a picture 
 reprefenting the Virgin, St. Catherine of Siena, and another Saint, painted by Cairo, 
 which is excellently defigned, and very beautifully coloured, in a ftyle that refembles the 
 colouring of Rubens. 
 
 CALABRESE. Vid. Pretl. 
 
 Giacinto CAT. ANDRUCCI. 
 Painted Hijtory and Portrait. 
 DIED 1707. 
 
 He was a difciple of Carlo Maratti ; and after fome years of ftudy and practice under 
 the direction of that great painter, he became an artift of confiderable eminence, and 
 performed feveral noble works in the churches, convents, and chapels at Rome. 
 
 His invention was ready, his ftyle of compofition like that of Maratti; his pencil was 
 free, firm, and delicate, his touch light, and in the tints of his colouring he very happily 
 imitated the manner of his illuftrious mafter. 
 
 John CALCAR, or Kalkar, 
 Painted Hiftory and Portrait. 
 
 DIED I546, AGED 47. 
 
 He was born at Calcar, a city of Cleves, in 1499, and hath rendered his name famous 
 through all Italy. He was the principal difciple of Titian; and by the admirable example 
 and precepts of that accomplifhed mafter, he made fuch a progrefs, that feveral of his 
 defigns and paintings have been accounted, by very fufficient judges, the work of Titian's 
 own hand. Even Goltzius himfelf, when he was at Naples, and with admiration examined 
 
 many 
 
C A L 
 
 f ii3 ] 
 
 CAL 
 
 many portraits painted by Calcar, pronounced them to be by Titian j nor could he be 
 undeceived till he faw the name of Calcar infcribed on others, which were equally beautiful 
 and excellent. It is alfo affirmed by Sandrart, that he imitated the works of Raphael with 
 fuch delicate exactnefs, that many of his paintings in that ftyle have been efteemed the 
 work of Raphael himfelf. 
 
 Vafari, who knew him at Naples, fays, it is impoflible to obferve in the works of this 
 mafter the fmalleft traces of the Flemifh tafte. He defigned all the heads for the works 
 of Vafari, and the anatomical figures in the works of Veflalius. 
 
 Rubens poirefTed a molt capital picture of this mafter's hand. It was a Nativity, 
 excellently compofed, in which the light proceeded from the Infant. After the death of 
 Rubens, it was purchafed by Sandrart, and by him fold to the Emperor Ferdinand, who 
 prized it exceedingly. 
 
 Luca CALIAVARI. 
 Painted Sea-ports, Landfcapes, and Views of Rome> 
 
 DIED I715, AGED 50. 
 
 He was born at Udino, in 1665, and acquired his whole (kill by ftudying and copying 
 the works of feveral painters who were very eminent j but he was not by any particular 
 mafter inftrudted in the art of painting. 
 
 The fubje£ts which he chofe, were fea-ports and landfcapes, embelliihed with a variety ' 
 of elegant figures, and efpecially views about Rome and Venice, which he defigned and 
 executed with truth, nature, elegance, and abundance of merit. 
 
 He publilhed a volume of his perfpective views of Venice, etched with aquafortis, 
 which are a fufHcient proof of his tafte and abilities. 
 
 Denis CALVART. 
 Painted Hiftory and Landfcape* 
 
 DIED l6l 9, AGED 64. 
 
 He was born at Antwerp, in 1555, and at firft employed himfelf in painting landfcapes, 
 having accuftomed himfelf to retire to groves and fields, to ftudy fuch fcenes and objects 
 after nature, as might be ufeful to him in that branch of his profeilion. But being defirous 
 to obtain a better manner of defigning figures, to adorn his landfcapes, he determined to 
 travel to Italy. 
 
 In his journey he flopped at Bologna, where he unexpectedly met with many inducements 
 to detain him in that city for fome time; and became the difciple of Profpero Fontana, 
 who had every qualification requilite for the improvement of his pupils, as well by his 
 precepts as his performances. 
 
 In fuch a fituation Calvart applied himfelf diligently to his ftudies, not only carefully 
 examining, but alfo copying the works of Correggio and Parmigiano; and when he 
 
 afterwards 
 
C A L 
 
 (J A M 
 
 afterwards quitted the fchool of Fontana, he placed himfelf w ith Lorenzo Sabattini, with 
 whom he travelled to Rome, where he perfected himfelf in defign, in perfpective, 
 architecture, and anatomy. 
 
 He acquired an excellent manner of penciling, by endeavouring to imitate thofe great 
 mafters which he had chofen for his models; and fo far diverted himfelf of the Flemifh 
 tafte, that his compofitions appeared more like the productions of an Italian artift, than of 
 one born in the Low Countries. His figures were well difpofed, and grouped without 
 confufion; his draperies were judicioufly cad, his touch was delicate, and the tone of his 
 colouring exceedingly pleafmg. 
 
 At his return from Rome to Bologna, which city he now confidered as the place of'his 
 nativity, he there opened an academy; and his extraordinary merit procured him a large 
 number of difciples, among whom were fome of the firft rank for genius; and he derived 
 the higheft honour from his having been the inftructor of Guido, Albano, and Domenichino, 
 as well as of feveral other excellent painters. 
 
 In the Palazzo Ranuzzi, at Bologna, there is a fine picture by Calvart, reprefenting 
 two Hermits, which is correctly defigned, beautifully coloured, and delicately penciled; 
 and in the Pembroke Collection, at Wilton, there is. a Nativity painted by that mailer. 
 
 Antonio CALZA. 
 Painted Landfcape and Battles* > 
 born in 1653. 
 
 He was born at Verona, and became a difciple of the celebrated Carlo Cignani, at 
 Bologna; but after his return to his own country, having feen fome of the battle-pieces 
 of Borgognone, he was fo charmed with his manner, that he determined to vifit him 
 at Rome. 
 
 He went thither accordingly, and with inexpreflible care and delight copied the works 
 of that great mafter; and had the happinefs of receiving additional improvement from the 
 inftructions which were afforded him by that admirable artift. 
 
 From thenceforward he devoted himfelf to paint battles, and landfcape; the former in 
 the ftyle of Borgognone; and in the latter he imitated fuccefsfully the tafte and manner 
 of Gafpar Pouffin. 
 
 Andrea CAMASSEI, or Camace. 
 Painted Hijiory and Landfcape. 
 
 DIED 1657. 
 
 He was born at Bevagna, and at firft learned the principles of defign and colouring 
 from Domenichino; but afterwards he ftudied in the fchool of Andrea Sacchi, and proved 
 a very great painter. 5 
 
 He 
 
CAM 
 
 C us ] 
 
 CAM 
 
 He was employed in St. Peter's at Rome, at alfo at St. John Lateranj and his works 
 are extremely admired for the fweetnefs of his colouring, the elegance of his thoughts 
 and delign, and likewife for the delicacy of his pencil. Sandrart laments that the world 
 was deprived of fo promifing a genius, in the very bloom of life, when his reputation 
 was daily advancing. 
 
 At St. John Lateran are to be feen, the Battle of Conftantine and Maxentius, and 
 the Triumph of Conftantine, which are noble and grand compofitions j and they afford 
 fufficient proofs of the happinefs of his invention, and the correctnefs of his execution. 
 Alfo at Wilton, the feat of the Earl of Pembroke, there is a picture of Venus with the 
 Graces, faid to be by the hand of CamafTei. 
 
 Galeazzo CAM PI, or Campo. 
 Painted H'ifiory and Portrait. 
 died 1536. 
 
 He was born at Cremona ; and the beft evidence of the genius and fkill of this artift 7 
 is the portrait of himfelf, painted by his own hand, and at prefent placed in the gallery 
 of painters at Florence, which is defcribed by the editors of the Mufaeum Florentinum 
 as a performance of extraordinary merit. 
 
 By thofe who have examined that picture with a judicious and critical obfervation, it is 
 defcribed as being defigned in a more elegant ftyle, with a much bolder relief, and 
 a greater knowledge of the chiaro-fcuro, than any of his other works, which are ftill to 
 be feen in Cremona and Ferrara. 
 
 Bernardino CAMP I, or Campo. 
 Painted Hi/lory. 
 
 DIED I584, AGED 62. 
 
 He was born at Cremona, in 1522, and fucceflivejy became the difciple of Julio 
 Campi and Hippolito Cofta. The principal works of this mafter are at Milan, where 
 feveral of his compofitions are to be feen, and they are in very great efteem. Particularly, 
 there is a picture of St. John in the Wildernefs, preferved, in the Ambrofian Library, 
 which is mentioned with great honour to the artift, and accounted to be extremely well 
 executed. 
 
 Dirk Theodore Raphael CAMPHUYSEN. 
 Painted Land/capes, Catt/e, and Moonlights. 
 born in 1586. 
 
 He was born at Gorcum, and learned the art of painting from Diederic Govertze ; 
 and by a ftudious application to it, he very foon not only equalled, but far furpafled his 
 mafter. He 
 
CAN 
 
 [ n6 ] 
 
 CAN 
 
 He had an uncommon genius, and ftudied nature with care, judgment, and afliduity. 
 His fubjec~ts were landfcapes, moftly fmall, with ruinous buildings, huts of peafants, or 
 views of villages on the banks of rivers, with boats and hoys, and generally he reprefented 
 them by moonlight. His pencil is remarkably tender and foft, his colouring true nature 
 and very tranfparent ; and his expertnefs in perfpective is feen in the proportional diftances 
 of his objects, which are excellently contrived, and have a furprifing degree of nature 
 and truth. 
 
 As he left off painting at an age when others are fcarcely qualified to commence artifts, 
 few of his works are to be met with, and they bring confiderable prices, as they cannot 
 but give pleafure to the eye of every obferver. He painted his pictures with a thin body 
 of colour, but they are handled with lingular neatnefs and fpirit. 
 
 He pradtifed in his profeflion only till he was eighteen years of age ; and being then 
 recommended as a tutor to the fons of the Lord of Nieuport, he undertook the 
 employment, and difcharged it with fo much credit, that he was appointed fecretary to 
 that Nobleman. 
 
 He excelled in drawing with a pen ; and the defigns which he finifhed in that manner 
 are exceedingly valued. 
 
 One of his beft performances, being a view of a village on the bank of a river, with 
 vefiels pafling and repafiing by moonlight, is in the pofleflion of the author of this book, 
 and it juftifies all that can be faid in his commendation. 
 
 Ludovico CANGI AGIO, or Cambiasi. 
 
 Painted Hijlory. 
 
 DIED I585, AGED 58. 
 
 He was born at Oneglia near Genoa, in 1527, and became one of the moft eminent 
 of the Genoefe painters. His manner was genteel and fpirited ; his works at Genoa are 
 very numerous, and he was employed by the King of Spain to adorn part of the Efcurial. 
 
 It is remarked of him, that he was not only a moft expeditious and rapid painter, but 
 alfo that he worked equally well with both hands; and by that unufual power he executed 
 more defigns, and finifhed more grand works with his own pencil, in a. much fhorter 
 time, than moft other artifts could do, with feveral affiftants. 
 
 It is mentioned as a memorable circumftance in the life of this mafter, that, at the age 
 
 of feventeen, he was employed to. affift in painting the front of an elegant houfe, in 
 
 frefco; and at his entering on the work, the other artifts, who were Florentines, were 
 
 already on the fcaftold. When they at firft obferved the youthful appearance of 
 
 Cangiagio, they concluded he could be nothing more than a grinder of colours; and 
 
 therefore, as loon as he took up the palette and pencils, they determined to prevent him 
 
 from ufing them, being apprehenfive that he would fpoil the work : but after a very 
 
 few ftrokes of his pencil, they had reafon to be of a very different opinion, and freely 
 
 acknowledged their own miftake, and his uncommon abilities. 
 
 3 Cangiagio 
 
CAN 
 
 f "7 3 
 
 CAN 
 
 Cangiagio had three different manners at different periods of his life. His Jirft was 
 gigantic, and not natural : in his fecond, he feemed to be confcious of his own imper- 
 fection, and therefore confulted nature with greater attention, and digefted his thoughts 
 in fketches, before he began to paint ; this was his beft ftyle : the third was diftin- 
 guifhed by a more rapid and expeditious manner of penciling, which he adopted to provide 
 more amply for the fupport of his family, and had a great deal of the mannerift. 
 
 In the Royal Collection at Paris there is a Sleeping Cupid, as large as life, and 
 likewife Judith with her Attendant, which were painted by Cangiagio, and are an honour 
 to that mafter. And in the Pembroke Collection, at Wilton, is a picture, reputed the 
 work of Cangiagio, reprefenting Chrift bearing his Crofs. 
 
 Peter CANDITO, or De Witte. 
 
 Painted HiJiory y Portrait^ and Hermits, 
 
 BORN IN I548. 
 
 The real name of this mafter was de Witte (or White), although Sandrart calls him by 
 the name of Candito, as alfo does De Piles, on account of that name being inferibed on fome 
 of the prints engraved after the defigns of this artift. Some authors affirm that he was 
 born at Munich j but Defcamps afferts, that he was born at Bruges, in Flanders, in 
 1548, although he probably might have refided for feveral years at Munich, and perhaps 
 have died there. 
 
 He painted with equal fuccefs in frefco and in oil, and had an excellent genius for 
 modelling. He worked in conjunction with Vafari at the Pope's Palace in Rome, and 
 was alfo employed at Florence by the Grand Duke ; in both places affording competent 
 proofs of his fkill, and gaining reputation ; till at laft he was taken into the fervice of the 
 Elector Maximilian of Bavaria, and fpent the remainder of his life in the Court of that 
 Prince. 
 
 Several prints are publifhed by Sadeler, after his defigns and paintings ; particularly the 
 Hermits, and the Four Doctors of the Church. 
 
 "Domenico Maria CANUTI. 
 PainUd Hi/lory. 
 
 DIED 1678, AGED 55. 
 
 He was born at Bologna, in 1623, an ^ had n0 otner inftructor in the art of painting, 
 but nature, aflifted by a happy genius. Even Guido could not forbear admiring the 
 .product of this matter's fine imagination, and very frequently commended the judgment 
 and tafte that were vifible in his compofitions. 
 
 He was employed in many magnificent works at Rome and Bologna, which are ftill 
 beheld with univerfal efteem. 
 
 R 
 
 CAP- 
 
CAP 
 
 [ 118 ] 
 
 CAR 
 
 CAPPUTTINO. Vid. Galantini. 
 
 Annibal CARACCI. 
 Painted Hijlory-, Portrait, and Landfcape. 
 
 DIED l6og, AGED 49. 
 
 By the concurrent teftimony of mod writers, this illuftrious artift was born at Bologna, 
 in * 1560, and was a difciple of Ludovico Caracci, his coufin-german ; from whom he imbibed 
 not only the belt principles of the art of painting, but alfo a warm ambition to arrive at 
 the utmoft perfection in every branch of it. And for that purpofe he ftudied the works 
 of Titian, Tintoretto^ and Paolo Veronefe, at Venice, and copied them with the mod 
 accurate care. 
 
 His early performances at Bologna afforded manifefl proofs of an extenfive genius ^ 
 they furprifed the ableft artifts of his time, and raifed a general expectation of that 
 excellence at which he afterwards arrived. 
 
 As the fame of the Caracci's had extended itfelf to Rome, Annibal was invited thither 
 by the Cardinal Farnefe, and employed to paint that gallery which is fo well known 
 through all Europe. It will be for ever the glory of Annibal, but it muft likewife be 
 the eternal difgrace of his employer, who rewarded fuch eminent talents, and the labour 
 of ten f years (as Sandrart affirms), fo meanly and fo unworthily. For that w r ealthy 
 ecclefiaftic, influenced by the fordid advice of his favourite dependant Don Gio, prefented 
 the painter with only five hundred crowns, for a work which richly merited more than as 
 many thoufands. 
 
 He went with fingular fatisfaction to Rome, as he had for a long time defired to fee 
 the antique ftatues, the baflb-relievo's, and alfo the compofitions of Raphael. And the 
 obfervations he made in that city, induced him to change his Bolognian manner, which 
 had very much of Correggio in it, to afTume one that was indeed more learned, but 
 more dry and lefs natural, as weH in defign as colouring. 
 
 It is obferved that the manner of all the Caracci's is the fame; the only difference 
 that can be perceived among them, feems to arife from their diverfity of temper and 
 difpofition. Annibal had more fire, more boldnefs, and fingularity of thought, than the 
 two others; and his defigns were more profound, his exprellions more lively, and hi & 
 execution more firm. 
 
 His genius was better adapted to paint poetical and profane fubjects than facred ; 
 though, when he attempted the latter, he generally fucceeded. His tafte of compofition 
 and defign was confiderably promoted by his ftudies at Rome, as may be evident from the 
 
 Farnefian 
 
 * Sandrart fays that Annibal Caracci was born in 1555, and died in 1609, aged 54, which feems to be an error; for 
 Agoftino, who was his elder brother, was not born till 1558 j and it was Ludovico who was born in 1555. 
 
 ■J- The authors of the Abrege de la Vie des Peintres allow Annibal to have been but eight yens at work on the 
 Paintings of the Farnefian Ga'lcry; but Sandrart fays he was ten. 
 
CAR 
 
 t «9 J 
 
 CAR 
 
 Farnefian gallery; and although it muft be confeffed that the defign is loaded, yet that 
 load hath fo much of elegance and learning, that it often pleafes even thofe whofc critical 
 judgment prevents them from approving it. 
 
 His manner mews a mixture of the antique, of nature, and of the manner of Michael 
 AngeloBuonaroti. He forfook that of Bologna, and adopted the Roman manner entirely; 
 the former was foft and mellow; and the latter more exact: in defign, but it was lefs 
 delicate in the colouring ; fo that the penciling in the laft works of Annibal, is neither 
 fo tender nor fo agreeable as in his firft. 
 
 He had an admirable genius for landfcape ; the forms of his trees are truly fine ; and 
 in all his objects after nature, there is a character that diftinguifhes them ftrongly. He 
 feems, however, not well to have underftood the principles and doctrine of the chiaro- 
 fcuro, nor are his local colours commendable ; but, upon the whole, no painter feems to 
 have been more univerfal, more eafy, more certain in every thing he did, nor more 
 generally approved, than Annibal. 
 
 In the gallery at Munich are two pictures of this mafter, for each of which (according 
 to Miffon) Maximilian I. Elector of Bavaria paid forty thoufand guilders. And, at 
 Loretto, is preferved a picture painted by Annibal, reprefenting the Birth of the Virgin, 
 which is exceffively beautiful. 
 
 Ludovico CARACCI. 
 Painted Hi/lory, Landfcape, and Portrait. 
 
 DIED 1619, AGED 64. 
 
 He was born at Bologna, in 1555, and became a difciple of Profpero Fontana; but he 
 rofe that high degree of reputation which he poffeffed, by ftudying the works of Titian, 
 Tintoretto, and Paola Veronefe, at Venice ; of Paffignano and Andrea del Sarto, at 
 Florence ; of Julio Romano, at Mantua ; and of Parmigiano and Correggio, at Parma. 
 But above all thofe mafters he admired Correggio, and always endeavoured to imitate 
 his manner. 
 
 He is deemed to have lefs fire in his compofitions than Annibal or Agoftino; but to 
 furpafs them in grace, grandeur, and fweetnefs. In religious fubjects particularly, he 
 excelled them both ; and after the manner of his favourite Correggio, he gave a wonderful 
 grace to his Madonna's. Simplicity and elegance diftinguiihed all his defigns ; his touch 
 was lively, his expreffion good; the airs of his heads are graceful; his figures are marked 
 with a fine outline; and his compofition is often fublime. 
 
 In conjunction with Agoftino and Annibal, he laid the foundation of that fchool which 
 has been fo highly celebrated, and even to this time diftinguimed by the title of the 
 Academy of the Caracci's ; and thither (as De Piles and other writers report) all the 
 young ftudents,who gave great hopes of their becoming mafters, reforted, to be inftrudted 
 in the true principles of painting. 
 
 R2 The 
 
CAR 
 
 C «o J 
 
 CAR 
 
 The Caracci taught freely thofe things that were proportionable to the talents and 
 qualifications of their difciples. They eftablilhed well-chofen models of men and women; 
 and Ludovico collected at Rome a number of fine cafts from the bell figures, and fome 
 antique ftatues and curious baflb-relievo's, which he conveyed to Bologna. They procured 
 the moft capital defigns of the great mafters; they purchafed inftructive books on all Subjects 
 relative to the art ' y and had the afliftance of a very noted anatomift, Anthony de la Tour, 
 who taught the difciples whatever might be neceflary to be known, relative to the knitting 
 of the bones, and the infertion of the mufcles. So that young men were excited to ftudy 
 there, and many fpent whole days and nights in afiiduous practice to improve themfelves, 
 by the antiquities and defigns which were always open to their infpection. 
 
 The happy effect of this inftitution is fufficiently proved, from the abundance of noble 
 difciples which were formed in that Academy j among the number of whom are Guido* 
 Domenichino, Albano, Lanfranc, Guercino, and many others. 
 
 At Bologna, in a chapel belonging to the church of La Madonna di Galiera, there is a 
 picture painted in frefco, by Ludovico Caracci, reprefenting an Ecce Homo, in which 
 Pilate is feen warning his hands. The defign is excellent, the colouring extremely good, 
 and the whole has a fine effect. In the church of St. Leonardo, the grand altar-piece is 
 of the hand of this matter. The Subject is the Martyrdom of St. Urfula and St. Leonardo y 
 and it is a noble and grand composition, confifting of a number of figures in good 
 attitudes, grouped with fingular Skill, and adorned with elegant draperies ; the heads- 
 and hands being correctly defigned, and in a good tafte. But it is grown dark by time, 
 as moft of the paintings of Ludovico are at this day, which greatly diminishes the effect. 
 Likewife, in the fame * city is a moft capital picture of St. John the Baptift, painted 
 by this mafter. The dignity that appears in the whole figure is aftoniftiing ; it commands 
 reverence, attention, and love ; and the countenance looks infpiration. The graceful 
 air and attitude, as well as the union of Simplicity and dignity in the character, are 
 heightened by the judicious mixture of ftrength and foftnefs in the colouring. 
 
 There are alfo many other pictures in Bologna of his hand, which are confefTedly 
 excellent ; particularly a Transfiguration, and the Converfion of St. Paul ; and a great 
 number are in the churches and religious communities in all parts of Lombardy- 
 
 Agostino CARACCI. 
 Painted Hijiory and Portrait. 
 
 DIED l602, AGED 44. 
 
 This eminent artift was born at Bologna, in 1 558. He was the elder brother of 
 Annibal, and the difciple of Ludovico, and in many refpects was not inferior to either* 
 At firft he ftudied painting in the fchool of Profpero Fontana> and afterwards became the 
 
 difciple 
 
 * Vid. Letters from the Eaft, 
 
CAR [ m ] CAR 
 
 difciple of Paflerotti ; but it was under the direction of Ludovico he acquired that tafte 
 and knowledge by which he rendered himfelf considerable. 
 
 As well in the difpofition as in the execution of the memorable Farnefian gallery, he 
 aflifted Annibal ; but he had not the affiduity of his brother, and devoted a great deal of 
 time to engraving, in which he was fo excellent, that his etchings were almoft as much 
 valued as his paintings. ' 
 
 There are but few of his pictures to be met with; and it is thought that feveral of 
 thofe which he did finifli,. pafs for the work of his brother Annibal. One of the moll 
 celebrated pictures of this mafter, is the Communion of St. Jerom, at the Chartreux in 
 Bologna, which he executed after his return from ftudying at Venice : it is defigned and 
 compofed in a grand ftyle ; the draperies of the figures are broad and elegant ; and in the 
 heads there is a noble character. But, although abundance of merit appears through 
 the whole compofition, it cannot ftand in competition with the famous picture, painted 
 by Domenichino, of the fame fubject. Another of his defigns is at Parma, in the Duke's 
 Palace ; which, by the death of Agoftino, was left imperfect and unfinifhed. And it 
 was fo highly efteemed by the Duke, that he never would permit any other painter to 
 work upon it, becaufe he accounted it impofiible to find a mafter equal to fuch an 
 undertaking. 
 
 Antonio CARACCI^ called II Gob. bo. 
 Painted Hijlory^ Landfcape, and Birds, 
 
 DIED l6l8, AGED 35. 
 
 He was the natural fon of Agoftino, born at Bologna, in 1583 j and having been 
 carefully inftructed by Annibal in the art of painting, he appeared to have a lively and 
 promifing genius ; and even in the few things which he painted, he gave fuch evident 
 tokens of a very enlarged capacity, that the fhortnefs of his life has been exceedingly 
 regretted. 
 
 In all his compofitions he difplayed a very excellent tafte; and in thofe pictures which he 
 finiflied, he fhewed the fpirited touch and penciling, as well as the beautiful expreflion, of 
 the admired Annibal. And if a judgment might be formed of his talents, by thofe frefco 
 paintings with which he enriched the three chapels belonging to the church of San 
 Bartolomeo nell' Ifola, it would feem not improbable that he might, perhaps> have even 
 furpafled the whole family of the Caracci. 
 
 Francesco CARACCI, called Franceschino. 
 Painted Hiftory. 
 DIED I&22, AGED 28. 
 
 He was the difciple of Ludovico Caracci ; by whofe precepts he proved, in a (hort 
 time, an eminent defigner of naked figures ; and was accounted, by his mafter, fuperior 
 
 to 
 
CAR 
 
 C 122 ] 
 
 CAR 
 
 to any of his fellow difciples in freedom of hand, correctnefs, and truth. But growing 
 vain by the applaufes he received for his acknowledged excellencies, he neglected colouring j 
 and by that means leffened his reputation, which, by a different conduct, he might have 
 effectually eftabliflied. 
 
 CARAVAGGIO. Vid. Angelo. 
 
 Ludovico CARD I, called Cigoli, and Civoli. 
 
 Painted Hijlory. . 
 
 DIED 1613, AGED 54. 
 
 This diftinguifhed mafter was called Cigoli, from the caftle where he was born, in 
 1559; and became the difciple of AlelTandro Allori, though he afterwards ftudied Andrea 
 del Sarto and Correggio. 
 
 He drew extremely well, and his ftyle of defigning was grand and elevated. The 
 attitudes of his figures were natural, juft, and expreflive; and his outline was exceedingly 
 correct. But notwithftanding his allowed merit, his works are readily known by fome 
 particularities, which are remarked in all his compofitions; fuch as a multiplicity of folds 
 in his draperies, and a peculiar form of the hair in all his figures. 
 
 At Florence he ftudied molt accurately, not only the antique ftatues, but alfo the works 
 of Michael Angelo Buonaroti, and Andrea del Sarto ; and applied himfelf to learn per- 
 fpective and architecture in the famous fchool of Bernardo Buontalenti. But having 
 accidentally feen fome of the works of Baroccio, he grew fo paflionately fond of the new 
 ftyle of that great mafter, that he afterwards endeavoured to imitate it; till he found that 
 Baroccio had derived his taite and knowledge from the works of Correggio, and then he 
 determined to feek for improvement at the fountain-head. 
 
 From thenceforward he devoted himfelf entirely to form his tafte of colouring and 
 defign, on the principles of that celebrated genius ; and as he polTeffed a lively imagination, 
 joined to an acute underftanding, and a judgment capable of difcerning every portion of 
 merit in the works of Correggio, it cannot appear furprifing that he copied him with 
 incredible exactnefs and beauty; or that, from his future performances, he fhould be 
 diftinguifhed by the name of the Florentine Correggio, which he obtained by his picture 
 of the Martyrdom of St. Stephen. 
 
 He was employed by Pope Paul V. to paint the dome of St. Maria Maggiore at Rome; 
 but as that work proved unequal, if not inferior, to his other productions, he feemed fo 
 utterly diffatisfied with it, that he defired to have it defaced, in order to finifli it with 
 greater beauty, and more to his own honour. Yet the Pope could not be prevailed on to 
 permit the painting to be deftroyed ; and his refufal impreffed fo deep a melancholy on the 
 fpirits of Cigoli, that it was thought to be the principal caufe of the death of that 
 excellent artift. 
 
 In the palace of Pitti, at Florence, a noble picture of this mafter is preferved. The 
 fubject is a dead Chrift, the Virgin, and Nicodemus. The compofition, the expreffion, and 
 
 the 
 
CAR 
 
 C ^3 J 
 
 CAR 
 
 the colouring, are all beautiful. The figure of the Virgin is particularly excellent, and 
 has fomewhat that appears like the tafte of the Caracci j and in the fame palace is an Ecce 
 Homo, which is efteemed one of his fineft performances* 
 
 Henry CARr£ 
 Painted Landfcapes, Cattle, Huntings, and Converfations* 
 
 DIED I72I, AGED 65. 
 
 According to Weyerman and Defcamps, this painter was born at Amfterdam, in 1656J 
 but according to Houbraken, and the Chronological Tables,.in 1658s and was a difciple at 
 firft of Jurian Jacobfz, an Hamburgher, as he alfo was afterwards of Jacques Jordaens. 
 
 Soon after his appearing in public as an artift, he found employment at the Court of 
 Frizeland, and was appointed ftate painter. He adorned the palace with feveral fine 
 paintings, particularly landfcapes, in which he introduced huntings of the wild boar, and 
 of other animals; in all which fubjecls his manner refembled that of Snyders. The 
 principal part of his ilfe was, however, fpent at Amfterdam and the Hague, where he took 
 uncommon pains to excel, and his works were ingeneral efteem. 
 
 His ufual fubjects were landfcapes, with peafants attending flocks of fheep, or herds of 
 cattle ; huntings, and fometimes converfations. He had an agreeable ftyle of painting, 
 and alfo a good manner of colouring; his figures and animals were well defigned, and 
 touched wiih a great deal of fpirit; though many of his pictures have rather too great a 
 degree of darknefs. 
 
 Michael CARRI?. 
 
 Painted Landfcapes and Cattle* 
 
 DIED I728, AGED 62. 
 
 He was a younger brother of Henry Carre, born at Amfterdam, in 1666-, and ftudied the 
 art of painting under his brother; but, to accomplifli himfelf in his profeifion, he became 
 the difciple of Nicholas Berchem. 
 
 When he had improved his tafte and his hand confiderably, under that great mafter, he 
 quitted him, and moft unaccountably preferred the ftyle of Vander Leew, to that of 
 Berchem, though it had neither fo much truth, beauty, nor delicacy. 
 
 For fbme time he followed his profeflion in his own country, and afterwards went to- 
 London, where he refided for feveral years ; but he found fmall encouragement, undoubtedly 
 becaufe he changed his firft agreeable manner, and perfifted in another, not fo acceptable 
 to the judicious and critical tafte of the Englifti. 
 
 The difappointment urged him to return to his native city, from whence, however j he 
 was invited to the Pruffian Court, where he had a good appointment, and was very nobly 
 paid for his work. 
 
 He 
 
CAR 1 
 
 C 124 J 
 
 CAR 
 
 He had great readinefs of hand, and a neat "manner of penciling in his eafel pictures; 
 but he was by no means defirous of painting in a fmall fize, if he could avoid it ; for his 
 inclination always led him to embellim grand falons, halls, and large apartments. 
 
 It is remarked of him, that, in his compofitions of the larger fize, he was fond of 
 introducing fubje&s that excited terror; ftorms with lightning, deftroying caftles and 
 towers, and tearing up trees by the roots. 
 
 CARRIERA. Vid. Rosalba. 
 
 Giovanni Francesco CAROTO. 
 Painted Hijiory and Portrait, 
 DIED 1546, AGED 76. 
 
 He was born at Verona, in 1470, and learned the firft principles of painting from 
 Liberale Veronefe; but having an opportunity of feeing fome of the works of Andrea 
 Mantegna, he went to Mantua, to place himfelf as a difciple under that celebrated mailer. 
 He there applied himfelf induftrioufly to improve his genius, and acquired fuch a readinefs 
 in defign and freedom of hand, as rendered him fuperior to his mafter ; and many of his 
 compofitions were taken for the works of Andrea. 
 
 At firft he delighted to paint in a fmall fize; but thofe who envied his merit having 
 afierted that he was incapable of painting in large, he confuted them by finiftiing a very 
 noble delign in the chapel of the Virgin at Verona, with figures as large as life, which 
 was allowed to excel all his former works, and eftablifhed his reputation. 
 
 Giovanni CAROTO. 
 Painted Hijiory and Portrait. 
 aged 60. 
 
 He was born at Verona, and inftru&ed in the art of painting by Giovanni Francefco 
 Caroto, his brother, whofe manner he fuccefs fully imitated; though he had not a pro- 
 portionable degree of merit, to entitle him to as great a reputation. 
 
 After he had applied himfelf for fome years to his profeffion, he went to Venice, in 
 order to obtain a more perfect knowledge of colouring; and returned to Verona about the 
 time of his brother's deceafe. In that city he found fufficient employment for hillorical 
 fubjects, as well as portraits, having painted many altar-pieces for the churches and 
 convents, as alfo eafel pictures for the principal nobility of his time. 
 
 He defigned all the curious remains of antiquity in and near Verona, particularly 
 the famous amphitheatre ; which were afterwards engraved and publiflied, very greatly to 
 his honour ; and before his death, he had the fatisfadtion to fee two of his difciples ranked 
 among the number of the moft eminent artifts, which were Paolo Veronefe, and Anfelmo 
 Canneri. 5 
 
 Ugo 
 
CAR 
 
 [ 12 5 3 
 
 CAR 
 
 Ugo da CARPI. 
 
 Painted Hijiory. 
 died 1500. 
 
 This artift was not in any degree confiderable as a painter; but he made himfelf 
 remarkable by difcovering the art of printing in chiaro-fcuro, which he performed with 
 two pieces of box-wood ; one of which marked the outlines, and fhadows, and the other 
 imprefled whatever colour he laid upon it, leaving fome parts of the paper uncoloured, as 
 manes of light. In that manner he ftruck off prints after feveral defigns, and cartons of 
 Raphael: particularly one of the Sybil, a Defcent from the Crofs, and the Hiftory of 
 Simon the Sorcerer. 
 
 This art was brought to a ftill higher degree of perfection by Balthafar Peruzzi of 
 Siena and Parmigiano, who publiflied feveral excellent defigns in that manner. 
 
 GlROLAMO DA CARPI. 
 
 Painted Hijiory and Portrait. 
 
 DIED 1556, AGED 55. 
 
 This painter, who was born at Ferrara in 1501, became a difciple of Garofalo, and 
 proved the beft artift of all thofe who ftudied in that academy; but when he quitted that 
 mafter, he devoted his whole time, thoughts and attention, to ftudy the works of Correggio, 
 and to copy them with a moft critical care and obfervation. In that labour he fpent 
 feveral years at Parma, Modena, and other cities of Italy, where the beft works of that 
 exquifite painter were preferved. 
 
 He fucceeded to admiration, and acquired fuch an excellence in the imitation of 
 Correggio's ftyle, and copying his pictures, that many paintings finiftied by him were 
 taken for originals, and not only admired, but were eagerly purchafed by the connoifleurs 
 of that time. Nor is it improbable, that feveral of the paintings of Girolamo da Carpi 
 pafs at this day for the genuine work of Correggio himfelf. 
 
 Julio CARPIONE. 
 
 Painted Hijiory^ Bacchanals^ Triumph s> and Sacrifices. 
 
 DIED 1674, AGED 63. 
 
 He was born at Venice, in 1611, and was a difciple of Aleflandro Varotari, called 
 Paduanino; under whofe guidance he made a remarkable proficiency, and in a furprifingly 
 /hort time acquired a great reputation for defign, for invention, and for a charming tint 
 of colouring. 
 
 His genius directed him to paint in a fmall fize, and therefore he chofe fubjects which 
 admitted of a number of figures, fuch as Bacchanalians, Sacrifices, Triumphs, &c. in 
 which he was without a competitor. 
 
 During the life of this mafter, the demand for his works was extraordinary; and at this 
 time they are exceedingly rare, and highly valued. 
 
 S CARUCCI 
 
CAS 
 
 t 126 J 
 
 C A S 
 
 CARUCCI. Vid. Puntormo, 
 
 Nicolo CASSANA, called Nicoletto. 
 Painted Hijiory and Portrait. 
 
 DIED 17 1 3, AGED 54. 
 
 He was born at Venice, in 1659, and became a difciple of Giovanni Francefco CafTana,, 
 a Genoefe, who had been taught the art of painting by Bernardino Strozzi. 
 
 Having the advantage of fo able a director, he pra&ifed with unufual induftry, and 
 accurately ftudied whatever appeared moft worthy of his imitation in the works of art, 
 and likewife what was moft beautiful and perfect in the works of nature. 
 
 By fuch an earneft application to his ftudies, he foon diftinguifhed himfelf, not only by 
 the beauty of his colouring, but by the gracefulness of his figures in hiftorical compofitions, 
 as well as in portrait. The moft eminent perfonages foliated him to enrich their cabinets 
 with fome of his performances; and were more particularly defirous to obtain their 
 portraits, becaufe in that branch he excelled beyond competition. 
 
 The Grand Duke of Tufcany, who was an excellent judge of merit in all profeflions, 
 and as liberal an encourager of it, invited Nicoletto to his court; and he there painted the 
 portraits of that Prince, and the Princefs Violante his confort. Thofe performances 
 procured him uncommon applaufe, as well as a noble gratuity ; and he was employed and 
 carefTed by the principal Nobility of Florence. 
 
 Befide feveral hiftorical fubjects painted by this mafter, while he relided in that city, 
 one was a very capital defign. The fubject of it was the Confpiracy of Catiline; it 
 confifted of nine figures as large as life, down to the knees; and the two principal figures 
 were reprefented, as with one hand joined in the prefence of their companions, and in their 
 other hand holding a cup of blood. 
 
 Some of the Englifh Nobility, on their travels, fat to him for their portraits; which being 
 fent to London, and highly admired, Nicoletto was invited to England, with ftrong affurances 
 of a generous reception; and on his arrival he experienced the kindnefs, the refpect, and 
 the liberality fo peculiar to the natives of that kingdom. 
 
 He had the honour of being introduced to the prefence of Queen Anne, and to paint her 
 portrait; in which he fucceeded fo happily, that the Queen diftinguilhed him by many marks 
 of favour and honour; but he had not the happinefs to enjoy his good fortune for any 
 length of time, dying in London, univerfally regretted, in the year 17 13. 
 
 Giovanni Agostino CASSANA, called L'Abate Cassana. 
 Painted BeaJIs, Birds, Fijhes, and Fruits. 
 
 BORN IN 1664. 
 
 He was the younger brother of Nicolo, educated along with him by their father 
 Francefco CafTana, and he finifhed his ftudies at Venice, where his brother Nicolo refided 
 for fome time. 
 
 Although 
 
CAS 
 
 [ ™7 ] 
 
 CAS 
 
 Although he compofed and defigned hiftorical fubjects with expertnefs, and with a 
 correctnefs of outline equal to his brother ; yet, from prudence and fraternal affection, 
 he declined to interfere with him, and chofe therefore to defign and paint all forts of 
 animals and fruits. 
 
 In that ftyle he arrived at a high degree of excellence, imitating nature with exadtnefs, 
 beauty, and truth; exprefling the various plumage of his birds, and the hairs of the 
 different animals, with fuch tendernefs and delicacy, as rendered them eftimable to all 
 judges and lovers of the art. His works were admitted into the collections of thofe of 
 the firft rank, and accounted ornaments of thofe repofitories of what is curious or valuable. 
 
 He alfo painted fruits of thofe kinds which were the moll: uncommon, or naturally of 
 odd and angular colours ; and fuch fifties as feemed worthy to excite admiration, by their 
 unufual form, colour, or appearance. 
 
 But befides thofe fubjects, he fometimes painted the portraits of particular perfons of 
 <lillin£tion, which he defigned, coloured, and touched with the fame degree of merit, that 
 was vifible in all his other performances. 
 
 At laft he determined to vifit Genoa, where his family had lived in efteem; and took 
 with him feveral pictures which he had already finifhed. His intention was to difplay his 
 generofity, and to appear as a perfon of more wealth, and of greater confequence, than he 
 really was; and to fupport that character, he bellowed his pictures to feveral of the 
 principal nobility of that city. 
 
 But, unhappily, he experienced no grateful return for all that prodigal munificence; he 
 reduced himfelf, by that vain liberality, to the molt neceflitous circumftances ; was deprived 
 of the means to procure for himfelf even the common necelTaries of life; and wafted away 
 ihe remainder of his days in the bitternefs of poverty, mifery, and neglect. 
 
 Jacopo di CASSENTINO. 
 Painted Hijlory and Portrait. 
 
 DIED I356, AGED 80. 
 
 He was born at Caflentino, in 1276, and learned the art of painting from Taddeo 
 Gaddi. He was confidered in his time as an artift of confiderable merit, as well in frefco 
 as in diftemper; and performed a great number of works in his native city, in Arezzo, 
 and Florence ; and in the year 1350, became the founder of the Florentine Academy. 
 
 The moll memorable work of this mailer, was that which he painted in the chapel of 
 the Academy, reprefenting St. Luke drawing the portrait of the Virgin; in which he 
 introduced on one fide all the academicians, which were ten, and on the oppofite fide all 
 their wives. 
 
 Andrea dal CASTAGNO. 
 Painted Hijiory. 
 DIED 1480, AGED 71. 
 He was born at a fmall village called Callagno, belonging to the territory of Tufcany, 
 in 1409 j and being deprived of his parents, was employed by his uncle to attend the herds 
 
 S 2 of 
 
CAS 
 
 [ **8 3 
 
 CAS 
 
 of cattle in the fields ; but, having accidentally feen an ordinary painter at work in the 
 country, he obferved him for fome time with furprife and attention, and afterwards made 
 fuch efforts to imitate him, as aftoniftied all who faw his productions. 
 
 The extraordinary genius of Andrea became at laft a common topic of difcourfe in 
 Florence; and fo far excited the curiofity of Bernardetto de Medici, that he fent for Andrea; 
 and perceiving that he had promifing talents, he placed him under the care of the beft 
 matters who were at that time in Florence. Andrea diligently purfued his ftudies; 
 devoted himfelf entirely to practice under the direction of his instructors; became 
 particularly eminent in defign; and in a few years made fo great a progrefs, that he found 
 as much employment as he could polTibly execute. 
 
 He painted only in diftemper and frefco, with a manner of colouring that was not very 
 agreeable, being rather dry and hard; till he learned the fecret of painting in oil from 
 Domenico Venetiano, who had derived his knowledge of that new difcovery from 
 Antonello da Meffina. 
 
 Andrea was the firft of the Florentine artifts who painted in oil ; but, although he was 
 in the higheft degree indebted to Domenico for difclofing the fecret, yet he fecretly envied 
 the merit of the man who taught him the art; and becaufe his own works feemed to be 
 much lefs admired than thofe of Domenico, he determined to aflaflinate his friend and 
 benefactor. 
 
 He executed his defign with the utmoft ingratitude and treachery (for Domenico at 
 that time lived with him, and painted rn partnership with him); and he {tabbed him at a 
 corner of a ftreet fo fecretly, that he efcaped unobferved and unfufpected to his own houfe, 
 where he compofedly fat down to work; and thither Domenico was foon after conveyed, 
 to die in the arms of his murderer. The real author of fo inhuman a tranfaction was 
 never difcovered, till Andrea, through remorfe of confcience, difclofed it on his death-bed. 
 
 He finifhed feveral confiderable works at Florence, by which, he gained great riches, 
 and as great a reputation; but, when his villainous mifconduct became public, his memory 
 was ever after held in the utmoft deteftation. 
 
 The moft noted work of this mafter is in the Hall of Juftice at Florence, reprefenting 
 the execution of the Confpirators againft the Houfe of Medici* 
 
 Bernard CASTELLI, 
 
 Painted Hi/lory and Portrait, 
 
 I>IED 1629, AGED 72- 
 
 This painter was born at Genoa, in 1557, and was a difciple of Andrea Semini; but 
 he ftudied to imitate the ftyle of Ludovico Cangiagio. 
 
 He was efleemed to have a commendable genius, alfo a good tone of colouring, and a 
 good tafte of defign; but, by neglecting to ftudy nature as carefully as he ought, his 
 works were, in many refpects, very defeaive. Yet he painted portraits with confiderable 
 fuccefs i and fome of his compofitions in the hiftorical ftyle are defigned with a degree of 
 
 X elegance, 
 
CAS 
 
 C ia 9 ] 
 
 CAS 
 
 elegance, and are coloured in an agreeable manner, The picture which he painted in 
 the church of St. Peter at Rome, reprefenting that Apoftle walking on the water, is 
 defigned in a grand ftyle, and added greatly to his reputation. 
 
 Valerio CASTELLI. 
 Painted Hijiory and Battles. 
 
 DIED 1659, AGED 44. 
 
 He was born at Genoa, in 1625, and ftudied in the fchool of Domenico Fiafella; but 
 he owed his principal knowledge in the art of painting, to the ftudies he made at Milan 
 and Parma, after the works of the moft celebrated mafters, by which he improved his 
 tafte of defign, compofition, and colouring. 
 
 The merit of Valerio was immediately diftinguiflied, as foon as his works became 
 known ; and he acquired fuch a reputation for drawing, colouring, and the elegant turn of 
 his figures, as placed him in a rank far fuperior to his father. 
 
 His moft favourite fubjects were battles, which he compofed with fpirit, and executed them 
 with fo pleafing a variety, and fo great freedom of hand, as gained him univerfal applaufe. 
 His horfes are admirably drawn, thrown into attitudes that are natural and becoming, 
 full of motion, action, and life. In that ftyle of painting he fhewed all the fire of 
 Tintoretto, united with the fine tafte of compofition of Paolo Veronefe. 
 
 The works of this mafter are not very frequent ; but they are defervedly held in very 
 high efteem. 
 
 As to hiftorical fubjects, which he frequently painted, he fhewed a great deal of merit 
 in his eafel pictures, as well as in feveral that were truly grand. In the great ftyle, the 
 cupola of the church of the Annunciation at Genoa is entirely painted hy his handj and 
 it is defcribed as a very noble compofition, in which appears an excellence of invention, 
 expreflion, and defign. And at Florence, in the Palace of the Grand Duke, there is a 
 noble painting, of which the fubject is the Rape of the Sabines, by this mafter. The 
 compofition is full, of fire, the figures are well grouped, and the colouring has abundance 
 of force, by a ftrong opposition of light and fhadow. However, the defign is not very 
 correct: ; the hands of the figures are too fmall ; and, in general, there appears too much 
 of the mannerift, as well in the colouring as the defign. 
 
 At Wilton, in the collection of the Earl of Pembroke, a picture reprefenting Chrift 
 taken down from the Crofs, is by Valerio Caftelli j and it is believed that a greater 
 number of the eafel pictures are in the collections of the Nobilky and Gentry of England, 
 than in any other part of Europe. 
 
 Giovanni Benedetto CASTIGLIONE, called Greghetto. 
 Painted Cattle^ Landfcape^ Pvrtrait, and Hi/lory. 
 
 DIED 167O, AGED 54. 
 
 This admired artift was born at Genoa, in 161 6, and in that city was at firft a difciple 
 of Battifta Pagi, and afterwards ftudied in the Acq,demy of Giovanni Andrea de Ferrari 
 
 but 
 
CAS 
 
 C 130 ] 
 
 C A S 
 
 but his principal improvement was derived from the inftructions of Vandyck, who at 
 that time refided in Genoa. 
 
 He formed 'to himfelf a very grand manner of defign, in every branch of his art, and 
 fucceeded equally well in all; in facred and profane hiftory, landfcape, cattle, and portrait; 
 executing every one of them with an equal degree of truth, freedom, and fpirit. 
 
 . But, although his genius was fo univerfal, his natural predominant turn was to rural 
 fcenes and paftoral fubjects, markets, and animals, in which he had nofuperior. He had 
 great readinefs of invention, a bold and noble tint of colouring, and abundance of nature 
 in all his compofitions. His drawing is elegant, and generally correct, his touch 
 judicious, and his pencil free and firm. And ftill to add to his accomplifliments, he had 
 a thorough knowledge of the chiaro-fcuro, which he very happily applied through all his 
 works. 
 
 In a chapel of St. Luke's church, at Genoa, is an excellent picture by this mafter. 
 The compofition and defign are good, the heads of the figures extremely fine, the 
 draperies well qhofen and judicioully caft, the animals lively and correct; and the manner 
 through the whole is grand, and yet delicate ; though at muft be obferved, that the 
 colouring is a little too red. In the Palazzo Brignoletti is a grand compofition, the 
 figures being eighteen or twenty inches high, which is admirably finifhed, though 
 perhaps a little too dark. And at the Palazzo Caregha, in the fame city, is an hiftorical 
 picture of Rachel concealing the Teraphim from Laban, in which the figures and animals 
 are exceedingly fine. 
 
 Francesco CASTIGLIONE. 
 Painted Landfcape^ Hi/lory, and Animals. 
 
 He was the fon and difciple of Benedetto, and was born at Genoa. He had the 
 happinefs to inherit abundance of the merit and extraordinary talents of his father, and 
 imitated his ftyle and manner exactly, in compofition, handling, and defign. Benedetto 
 was not a more univerfal painter than Francefco ; but the latter was not in every refpedt 
 equal to his father ; though in hiftory, landfcape, and animals, his exquifite tafte, his 
 freedom of hand, and his fpirited pencil, procured him an eftablifhed reputation. 
 
 It is thought that many good paintings which are afcribed to Benedetto, and are 
 frequently feen at fales, or in moderate collections, are copies after him by his fon 
 Francefco, or perhaps originals of the younger Caftiglione. 
 
 Pietro De CASTRO. 
 Painted Still Life. 
 died 1663. 
 
 The fubjects which this great artift chofe to paint, were what are diftinguifhed by the 
 name of ftill life } vafes, fhells, mufical inftruments, gems, veffels of gold, filver, and 
 
 5 cryftal, 
 
C A V 
 
 C w 3 
 
 C A V 
 
 eryftal, boeks, and rich bracelets ; and in thofe fubjects his choice and difpofition were 
 elegant, and his execution admirable. 
 
 No colouring could have more of truth, nature, or tranfparence than his, nor any 
 penciling be more free, though neat and delicate. He fhewed peculiar judgment in 
 grouping a variety of objects in fuch a manner, as to give union and harmony to the whole. 
 Every feparate object is exact when critically examined; and every object: contributes at 
 the fame time, by a judicious arrangement, to form but one mafs of light and fliadow. 
 
 That he was expert in the true principles of perfpedtive, and the chiaro-fcuro, his works 
 fufficiently demonftrate; and for tranfparence and truth, the beft of his cotemporaries 
 Could not be fuperior to him. 
 
 A capital picture of this mafter is in the poffeflion of William Montgomery* Efq. 
 in Dublin. 
 
 Pietro CAVALLINI. 
 
 Painted HiJiory> and worked in Mofaic, 
 
 DIED I364, AGED 85. 
 
 He was born at Rome, in *I279, and became the difciple of Giotto. He rendered 
 himfelf very confiderable by a multitude of paintings which he finiftied, to the number 
 (as fome writers aflert) of 1300; and he was alfo as remarkable for his piety, having on 
 that account been efteemed as a faint. 
 
 His principal works are at Rome, where he aflifted Giotto in that celebrated picture 
 in Mofaic, which is over the grand entrance into the church of St. Peter; and in St. Paul's 
 there is a crucifix, faid to be by his hand, which the fuperftitious ajRrm to have 
 
 miraculoufly 
 
 * Mr. Vertue, according to the Anecdotes of Painting, vol. t. page 17. thinks it highly probable, that the fhrine of 
 Edward the Confeffor, and the crofles erected to the memory of Queen Eleanor, were conftructed from the defigas of 
 Pietro Cavallini, by Abbot Ware j and he fuppofes Cavallini to be the inventor of Mofaic, alledging that Giotto was 
 20 years younger than the other. 
 
 But, with great deference to that gentleman, thofe fuppofitions feem not to be very defenfible; for, by the teftimony of 
 Vafari, and other writers, and alfo by the Hiftorical, Tables of Ancient and Modern Painters, publilhed by Anthony 
 Harms, at Brunfwick, it appears that Giotto was three years older than Cavallini, inftead of being twenty years younger J 
 and was really his inftructor in the arl of Mofaic ; as may be evident from the dates of their birth, according to Vafari. 
 
 Giotto was born in 1276, and 
 Cavallini was born in 1279. 
 
 Indeed, Vafari does not mention the precife year of the birth of Cavallini j but as he teftifies that he died in 1364, at 
 the age of 85, he determines the year of his birth in 1279. 
 
 Nor can the other fuppofition of Abbot Ware's constructing thofe crofles and ihrine from the defigns of Cavallini, be 
 any ways eftabliflied j for, according to the Anecdotes, Ware was at Rome in 1260, and there faw a Ihrine that had been 
 erected in 1254; an< * tne Abbot himfelf died in 1283, which, it is obfervable, was eight years before the death of Queen 
 Eleanor, who died in -{- 1291. 
 
 Now, as it appears that Giotto was born in 1276, he could have been but feven years old at the death of Ware ; and 
 Cavallini being three years younger than Giotto, it muft appear impoflible that he mould have been a defigner for Ware, 
 as that Abbot died when Cavallini was only four years old. 
 
 \ Vid, Daniel's Hiftory of England. 
 
6 A V 
 
 t 13* 3 
 
 G A V 
 
 miraculoufly talked to St. Bridget. But his beft performance in frefco was in the 
 church of Ara Coeli at Rome ; in which he reprefented the Virgin and Child above, 
 furrounded with glory, and below was the figure of the Emperor Octavian, and alfo that 
 of the Sybil, directing the eye and the attention of the Emperor to the figures in the air. 
 
 Jacomo CAVEDONE. 
 Painted Hi/lory. 
 
 DIED l660, AGED 80. 
 
 This mailer was born at Safluolo, near Modena, in 1580, and was educated in the 
 Academy of the Caracci, where he learned defign; but he frequently attended the fchools 
 of Baldi and PafTerotti, to ftudy after the naked. Yet, to acquire a proper knowledge of 
 colouring, he vifited Venice, and carefully examined the perfections of Titian ; and at 
 his return to his own country, the beft judges of the art of painting were much pleafed 
 with his works, as they feemed to poflefs an agreeable mixture of the ftyle of the Caracci, 
 and the tints of Titian. 
 
 For fome time, at Bologna, the works of Cavedone were efteemed equal to the 
 compofitions of Annibal j and it is recorded, that in the King of Spain's chapel there is a 
 picture reprefenting the Vifitation of the Virgin, which Rubens, Velafquez, and Michael 
 Angelo Colonna, fuppofed to be the performance of Annibal Caracci, although it was 
 really the work of Cavedone ; nor could there be a more honourable teftimony in favour 
 of this mafter. 
 
 His beft manner was ftrong and free, and the tints of his colouring were natural and 
 beautiful; but by thofe who have judicioufly confidered his works, it is obferved that 
 this painter had three different manners, at three different periods of his life. His firft 
 time was excellent ; his fecond but indifferent ; and his laft was feeble, and miferably bad. 
 For, in the latter part of his life, he was depreffed by ficknefs and extreme poverty ; and 
 a few years before his deathj he received a violent ftiock, by the fall of a fcaffbld while he 
 was painting ; and his unhappinefs was completed by the death of his only fon, who had 
 given ftrong proofs of a promifing genius* 
 
 At Bologna, in the church of St. Salvatore, are feveral very capital performances of 
 Cavedone. The Prophets, and the Four Doctors of the Church, are extremely good, 
 and have an agreeable effect ; and in a chapel belonging to the church of St. Paul, are 
 fome excellent paintings of his, very much in the manner of Caravaggio as to the 
 colouring, and the heads of the figures are in a fine ftyle. But one of his beft per- 
 formances is in the church of the Mendicants in Bologna, in which he reprefents Petronius 
 and another Saint on their knees, in the lower part of the picture, and the Virgin and 
 Child in the Clouds attended by Angels. The Virgin is in a grand tafte of defign ; the 
 compofition is excellent ; the colouring, in fome parts, refembles Titian, and, in others, 
 the touch and manner of Guido; the heads are exceedingly fine; the draperies nobly 
 executed, in that ftyle which is particularly admired in Guido ; the fhadowings fhew all 
 
 the 
 
CEL 
 
 C 133 ] 
 
 CER 
 
 the force of Caravaggio j and the whole is finifhed with great freedom of hand, and a 
 mafterly pencil. If there be any thing which might be liable to cenfure, it is the drapery 
 of the Virgin, which appears rather heavy, and is not fo happily difpofed as all the other 
 parts of the compofition. 
 
 Andrea CELESTI, called Cavalier Celesti. 
 Painted Landfcape and Hijlory. 
 
 DIED I706, AGED 69. 
 
 He was born at Venice, in 1637, and learned the principles of defign and colouring 
 from Cavalier Matteo Ponzoni. He was much applauded for a beautiful ftyle of painting, 
 in hiftory, as well as in landfcape j but he principally employed himfelf in the latter. 
 
 In landfcape his fituations are always natural, and his choice elegant j his colouring is 
 very pleafing, his Ikies are luminous and clear, his buildings and other objects well 
 relieved, and every part offers itfelf extremely agreeable to the eye. 
 
 He painted the beautiful views about Venice, and other cities of Italy, in a large fize, 
 and alfo in a fmall ; and his works are very highly prized, but not eafily procured. 
 
 Two hiftorical compofitions of Celefti are preferved in the chapel of Madonna della 
 Pace, at Venice ; the one is, St. Luke painting the portrait of the Virgin ; and the other, 
 the Adoration of the Magi; which are excellent performances. The compofition is 
 ingenious, the ftyle grand, and the whole executed with a flowing bold pencil. And in 
 the chapel of Spedaletto, is another of his pictures (reprefenting St. Jerom, with the 
 Virgin and fome Saints), which is well defigned, foft, and delicately coloured, but rather 
 too ruddy. He was fond of ufing a purplifh tint, not unlike the manner of Rubens ; 
 but he was fometimes apt to ufe it in the extreme, particularly in his carnations. 
 
 Giovanni Domenico CERINI. 
 Painted Hi/lory, 
 
 DIED l68l, AGED 75. 
 
 This artift was born at Perugia, in 1606, and received his firft inftru&ions from 
 Guido, under whom he ftudied for fome time ; and afterwards he became a difciple of 
 Domenichino. From thofe two celebrated mafters he acquired a very beautiful tone of 
 colouring, and a graceful difpofition of his figures; and he particularly excelled in giving 
 elegant and noble airs to his heads. 
 
 Giovanni Paolo CERVETTO. 
 
 Painted Hijlory. 
 
 DIED 1657. 
 
 He was born at Genoa (but the year is not mentioned) ; and was a difciple of Valerio 
 Caftelli, whofe tafte of defign and colouring he fo thoroughly imbibed, that the works 
 which he executed could not be diftinguilhed by the ableft judges from thofe finiflied by 
 the hand of Caftelli. 
 
 T Philip 
 
C H A 
 
 CHA 
 
 Philip De CHAMPAGNE. 
 
 Painted Hijlory, Portrait, and Landfcape, 
 
 DIED 1674, AGED 72. 
 
 He was born at BrufTels, in 1602, and received his earlieft instructions from Bouillon 
 and Michael Bourdeaux, two ordinary painters ; but afterwards became a difciple of 
 Fouquieres, with whom he ftudied landfcape ; and having travelled to France, at the age 
 of nineteen, with an intention to vifit Rome, after fome ftay at Paris, he practifed 
 portrait-painting with one L'Alleman, and in fome time made a great progrefs in that 
 branch of his profeffion, as well as in hiftory and landfcape. 
 
 While he continued at Paris, he happened to commence an acquaintance with Nicolo 
 Pouffin, which gradually increafed to fo eftablifhed a friendfhip, as proved of the greateft 
 confequence to him ; and they were together employed in painting the ornaments of 
 the Luxembourg Palace. Not long after, he was made Director of the Queen's Paintings, 
 with a penfion of twelve hundred livres a year, and apartments in the Palace. 
 
 He deligned correctly; had an agreeable, clear tint of colour; and understood well 
 the principles of perfpective and architecture. But, although he had a ready invention, 
 fys works have not a great deal of fpirit, and his tafte retained too much of the Flemifh. 
 He was too attentive to a faithful imitation of nature, and made his model his fole guide, 
 without elegance of choice ; by which means his imitations are cold and lifelefs j nor had 
 he the capacity or genius to act like other eminent artifts, fo as to improve nature by 
 the afliftance of art. De Piles obferves, that all his knowledge confifted in a fervile 
 imitation, in the performance of which he neither followed his genius, nor the rules of art. 
 
 It is but juftice to acknowledge, that his colouring in general is lively, fome of his local 
 colours very good, and fome heads well imitated j yet thofe heads feemed as immoveable 
 and infenfible as fome living models appear to common obfervation. 
 
 Though his colouring is clear, it wants brilliancy; but his pictures are delicately 
 finifhed, and particularly his portraits ; in which ftyle, that which he painted of Cardinal 
 Richelieu is one of the beft pictures that ever came from his pencil. 
 
 His works, which are difperfed through France, are very numerous j but a molt 
 capital picture of Champagne, is Lewis XIII. kneeling before the Virgin, and offering 
 his crown. It is remarked of him, that he refufed to paint the portraits of the firft Nobility 
 in France, on a Sunday, though he was exceedingly fond of getting money at other times. 
 
 John Baptist CHAMPAGNE. 
 Painted Hiftory, Portrait, and Landfcape. 
 
 DIED 1688, AGED 43. 
 
 This painter was nephew to Philip, and was born at BrufTels, in* 1645. He was 
 initrufted by his uncle, and for feveral years was a difciple of that mafter; but, as foon 
 
 as 
 
 * According to fome writers, born in 1643. 
 
G H A [ 135 ] " CHE 
 
 as he found himfelf qualified to vifit Italy, he travelled thither, to ftudy after the works 
 of the great artifts, and refided there a year and three months. 
 
 He painted in the very fame ftyle and manner as his uncle Philip, nor did he even alter 
 that manner, after he had fuch opportunities in Italy of refining and improving his 
 original tafte. At his return from his travels he was fo highly regarded, that he was 
 appointed Dire&or (as Houbraken writes) of the Royal Academy j but Defcamps fays, 
 that he was appointed Profeflbr. 
 
 He was not equal to Philip, either in defign or execution, but he proved a good imitator 
 of himj and if he had many of the perfections of his uncle, he had alfo many of his defects, 
 
 CHARDIN. Vid. Jardyn. 
 
 Francis Du C H A T E L. 
 Painted Converfations. 
 
 BORN ABOUT THE YEAR 1625. 
 
 His native city was BrulTels, where he had the good fortune to be placed as a difciple 
 with David Teniers the younger, who, obferving in the genius of his pupil a ftrong 
 fimilarity to his own, took pains to improve it as much as poflible; and by that means 
 Du Chatel became an honour to his inftructor. 
 
 He always adhered to the manner which he had fo happily acquired in the fchool of 
 Teniers ; and his fubje&s were of the fame kind as thofe of his matter, except that 
 fometimes they were rather more elevated. Like Teniers, he painted corps de garde, &c. 
 but he alfo painted converfations, and affemblies of thofe of higher rank, in which his 
 compofitions confifted of a number of figures correctly defigned, and habited in the mode 
 of the time. His colouring was extremely good, and his pictures were remarkable for the 
 truth of their perfpective, and for the fine effect produced by his lkill in the chiaro-fcuro. 
 
 The moft capital work of this mafter is in the Town-hall at Ghent, being near twenty 
 feet long, and fourteen high. The fubject of that pifture is the King of Spain receiving 
 the oath of fidelity from the States of Flanders and Brabant, in 1666. The back-ground 
 fhews a view of one of the principal places in Ghent, adorned with triumphal arches and 
 other decorations ; and it is faid that the number of figures amount to above a thoufand, 
 with an abundant variety of characters : through the whole, the groupes are fo aptly 
 difpofed, that there is not the fmalleft appearance of confufion. 
 
 Elizabeth Sophia CHERON. 
 
 Painted Portrait and Hijlory. 
 
 DIED I7II, AGED * 63* 
 
 She was born at Paris, in 1648, the daughter of Henry Cheron, a painter in 
 enamel j who, obferving her to be paflionately fond of the art of painting, and to 
 
 T 2 afford 
 
 * The authors of the Abrege de la Vie des Peintres, though they fix the birth of Elizabeth Cheron in 1648, and her 
 death in 1711, which makes her only 63 years old at her death, have by fome miftake faid that flie died at the age 
 of 83. Vid. vol. z, page 371, 4to. 
 
C H E 
 
 [ 136 ] 
 
 C H I 
 
 afford an early appearance of a good genius, took pains to inftruct her in defign and 
 colouring. 
 
 She very foon rofe in general efteem by her performances, and particularly by the 
 portraits which {he painted ; for, befide their having a ftriking refemblance, they were 
 elegantly difpofed, well coloured, and neatly finifhed ; and as £he had a fingular talent for 
 painting hiftory, her ufual manner of. portrait-painting was in the hiftorical ftyle. 
 
 Her manner of defigning was excellent ; her colouring had the lively look of nature;, 
 her pencil was free, her touch delicate, her draperies were always well caft; and there 
 appeared a great deal of union and harmony in her paintings. 
 
 She had the honour of being prefented to the Academy at Paris, by Le Brun, in 1676, 
 and was received with every mark of refpecl and diftinction. 
 
 Louis CHE RON. 
 Painted Hiftory. 
 
 DIED I7I3, AGED 53. 
 
 He was the brother of Elizabeth Cheron, born at Paris, in 1660 ; and having been* 
 taught the rudiments of the art in his own country, he travelled to Italy, where his fifter 
 fupplied him with a competency, to enable him to profecute his ftudies for eighteen years. 
 During his continuance in Italy, he made the works of Raphael and Julio Romano the 
 principal objects of his ftudies, by which his future compofitions had always a certain air 
 of the antique, though he had no great portion of grace, and his figures were frequently 
 too mufcular. 
 
 Two of his pictures are in the church of Notre Dame, at Paris ; the one, of Herodias 
 holding the charger with the head of St. John the Baptiftj the other, of Agabus foretelling 
 the perfecutions of St. Paul. 
 
 On account of his religion, being a Calvinift, he was compelled to quit his native 
 country, and fettled in London, the happy retreat of all diftrefled artifts ; and there he found 
 many patrons among the Nobility and Gentry, particularly the Duke of Montague, for 
 whom he painted the Council of the Gods, the Judgment of Paris, and fome other com- 
 pofitions, taken from poetic or fabulous hiftory; and he died in London. 
 
 Giuseppe CHIARL 
 Painted Hi/lory. 
 DIED I727> AGED f.y 
 
 He was the fon of Stefano Chiari, and born at Rome, in 1654. While he was yet an 
 infant, he was feized with the plague, but fecreted by the tender care of his mother, and 
 preferved from being difcov.ered by the officers of health, who infpedted all houfes, to 
 prevent the increafe of the infection* 
 
 He 
 
C H I 
 
 C 137 J 
 
 CHI 
 
 He recovered from that diftemper, but grew up with a very feeble and fickly conftitution;, 
 and, at a proper age, was defirous to learn defign, as it might afford him a profeflion 
 fuitable to his ftrength, and for that reafon preferable to any other. 
 
 At firft, therefore, he was inftrudted by one Galliani, who was a painter,, and a dealer 
 in pictures; but while he ftudied with that mafter, there were fome appearances of an. 
 amendment in his conftitution, and he was placed as a difciple with the celebrated Carlo - 
 Maratti. By the directions of that great mafter, and the afliftance of thofe difciples 
 who had made already a confiderable progrefs, he obtained incredible benefit, became 
 capable of copying the works of his mafter in a free manner ; and by unbending his mind at 
 intervals with innocent amufements, found his health in a fhort time totally eftablifhed. 
 
 When he gave the firft proof of his ability, by painting fome of his own defigns, 
 they were extremely commended by all the lovers of the art; however, he ftill continued 
 to work under the guidance of Carlo, who, obferving the refpect, the deference, and the 
 affiduity of his difciple, thought himfelf obliged, in gratitude, to promote him, and afford 
 him the means of raifing his reputation, and his fortune. For that purpofe, he appointed 
 him to execute feveral public works, which he performed to the fatisfaction of the beft 
 judges. Every new undertaking added confiderably to his fame ; and his works were 
 univerfally efteemed, as well for the beauty of the colouring, as for the elegant tafte of- 
 defign. 
 
 Nor is it any way furprifing, that Chiari fliould be fo highly approved, fince Carlo, . 
 who was allowed to be a fuperior judge of the merit of artifts, was continually profufe 
 in his commendation, and recommended him to work in his ftead, confiding entirely even 
 his own credit to the known ability of his difciple. And as an inconteftable proof of 
 this, thofe very cartons which Carlo had already begun for one of the domes of St.. Paul's 
 church at Rome, and, by his advanced age, were likely to be left imperfect, were, by his own 
 direction, intrufted to Giufeppe Chiari j and he finifhed them to the entire approbation of 
 Pope Clement XI. who honoured him with his prefence while he was at work. 
 
 He was continually employed in grand works for the churches and palaces of the Nobility, , 
 and painted an extraordinary number of fubjects from facred and profane hiftory, as well: 
 as compohtions which were the product of imagination and fancy, which fpread his 
 reputation not only through all Italy, but through every part of Europe. 
 
 His touch was delicate, and his colouring agreeable ; he was correct and elegant. 
 Thofe copies which he made after his mafter are exact and well executed; and the prices 
 which are now given for thofe paintings, as likewife for his own original paintings, are 
 a fufficient proof of their intrinfic value.- 
 
 Jacopo C.HI AVISTELL I. 
 Fainted Architecture and Perfpeftive* 
 
 DIED 1698, AGED 77. 
 
 This mafter was born at Florence, in 1621 ; and his father,. perceiving- a ftrong incli- 
 nation in his fon to learn the art of painting, placed him under the direction of Fabricio 
 
 2, Bofchi, 
 
C I A 
 
 [ 138 ] 
 
 C I A 
 
 Bofchi, an artift of good credit, to ftudy defign and colouring. But, as Bofchi was of 
 an odd, whimfical temper, which feemed every day to grow more difagreeable, Jacopo 
 was under a neceffity of leaving his Ichool, and became a difciple of Baccio del Bianchi, 
 a very famous painter, architect, and engineer; who ; for the public emolument, had 
 Opened an academy at Florence, for the improvement of youth in civil and military 
 architecture. By ttte inftruction of that eminent artift, Jacopo made an extraordinary 
 progrefs, became fuperior to all his competitors, and fhewed an execution far beyond 
 what could be expected from his years or his experience. 
 
 Being at laft accomplifhed in the principles of perfpective and architecture, and having 
 alfo great readinefs of invention, and freedom of hand, he liftened to the advice of his 
 friends, who wiflied him to devote his talents entirely to paint in frefco; becaufe it 
 appeared to them probable that he might, in that ftyle, equal, if not furpafs, the belt 
 artifts of his time; who were from all parts invited to Florence, to embellifh the 
 churches, convents, and the palaces of the Nobility. 
 
 At laft he fixed his determinate refolution, and ftudied the works of Michael Angelo 
 Colonna in the palace of Pitti, and of fome others; travelling alfo to Bologna, to examine 
 the grand compofitions of Girolamo Curti, and Agoitino Metelli. At his return to his 
 native city, he gained univerfal efteem, for the variety and delicacy of his invention, the 
 beauty of his colouring, and the elegance of his compofitions. 
 
 He was employed by the Grand Duke, and moft of the Nobility of Tufcany; and in 
 his perfpective deligns he fhewed the utmoft perfection of the art ; deluding the eye by 
 the truth and exadtnefs of his drawing, and enriching his architecture with ftatues of an 
 exquifite tafte, and bold relief. 
 
 By the merit of his performances, and his indefatigable application, he acquired an 
 opulent fortune ; and though he lived to a very advanced age, he continued to work upon 
 a variety of defigns ; but, in the decline of his life, his colouring wanted much of that 
 iuftre which recommended and diftinguifhed his early performances. 
 
 Agostino CIAMPELLI. 
 Painted Hijiory. 
 
 DIED 1640, AGED 62. 
 
 He was born at Florence, in 1578, and was a difciple of Santi di Titi; from whom 
 he obtained an excellent tafte of defign, and gradually rofe into fuch a high degree of 
 reputation, and general efteem, that he was employed in the church of St. John Lateran, 
 in the Vatican, and the moft confiderable places in Rome. He worked equally well in 
 frefco and in oil, and was fo diftinguifhed an architect, that he prefided over the building 
 of St. Peter's church. 
 
 He finifhed a volume of his defigns in architecture, which were allowed, by the 
 eonnoifleurs of that time, to be exquifite in the tafte, as well as in the drawing. 
 
 Scipio 
 
C I G 
 
 r 139 ] 
 
 C I G 
 
 Scipio CIGNAROLI. 
 
 Painted Landfcape* 
 
 He was born at Milan, and became the difciple of Cavalier Tempefta; but, notwith- 
 ftanding the admirable talents of his mafter, who not only taught him what was beft, 
 but alfo exemplified it in his own works j and although he daily faw thofe pictures 
 painted, which placed Tempefta in the foremoft rank of thofe who were eminent for 
 landfcape, yet he found in himfelf an impatience to fee Rome; nor could he enjoy his 
 pencil, till he had gratified that commendable inclination. 
 
 When he arrived at Rome, he was incefTant in his ftudies, and particularly in ftudying 
 the works of Salvator Rofa, and Nicolo Pouflin ; and by the afliftance of an apt genius, 
 ftrengthened by application, he proved a moft excellent painter of landfcapes, in a ftyle 
 that perceptibly refembled each of thofe great mafters. 
 
 His merit, and extenfive reputation, at laft recommended him to the Duke of Savoy, 
 who invited him to his court; where he lived for feveral years in the higheft efteem, and 
 fpent his days in honour, content, and quiet. 
 
 Carlo CIGNANI. 
 Painted Hijlory. 
 
 DIED I719, AGED 91. 
 
 This celebrated mafter was born at Bologna, (though fome writers fay he was born at 
 Rome) in 1628, and received his firft inftruction in the art of painting from Giovanni 
 Battifta Cairo Cafalafco; and afterwards became the difciple of Albano, in whofe fchool 
 he appeared with all the advantage that could be expected from a youth of moft promi- 
 fing and fuperior talents. 
 
 But although the firft proofs of his genius, while heftudied with Albano, were exceed- 
 ingly admired, yet, to improve himfelf ftill farther in correctnefs of defign, and alio in 
 the force and relief of his figures, he ftudied Raphael, Annibal Caracci, Caravaggio, 
 Correggio, and Guido; and affirmed a beautiful manner of his own, in which feemed 
 combined the different excellencies of all thofe incomparable artifts. For, it is obferved, 
 that in a new method of painting he fhewed a great deal of Guido and Caravaggio in 
 his works, united with the grace of Correggio. 
 
 He is accounted very happy in his tafte of compofition, and excellent in the difpofition 
 of his figures; but a judicious writer fays, that he v/as cenfured for beftowing too much 
 labour on the finifhing of his pictures, which confiderably diminifhed their fpirit; and 
 alfo for affecting too great a ftrength of colouring, fo as to give his figures too bold a 
 relief, and make them appear as if not united with their grounds. 
 
 However well or ill founded thefe obfervations may be, yet it is almoft univerfally 
 allowed, that his ideas are lovely,, his imagination fine, and his invention fertile; and - 
 through all Europe he is defervedly admired, for the force and delicacy of his pencil, for 
 3 tha 
 
C I M 
 
 I 140 ] 
 
 C I M 
 
 the great correctnefs of his defign, for a diftinguifhed elegance in his compofitions, and 
 alfo for the mellownefs which he gave to his colours. The draperies of his figures are 
 in general eafy and free; his exprefllon ofthepaffions is judicious and natural; and there 
 appears a remarkable grace in every one of his figures. 
 
 The Cardinal San Csefareo patting through Forli, where Cignani at that time refided 
 with his family, defired to have one of his paintings ; and Carlo {hewed him a picture of 
 Adam and Eve, which he had painted for his own ufe, intending to have kept it by him. 
 On viewing that performance, the Cardinal was pleafed beyond meafure, gave him for it 
 five hundred piftoles, and politely told Carlo, that he only paid him for the canvas, and 
 accepted the painting as a prefent. 
 
 In the Palazzo Arnaldi, at Florence, a late * traveller obferved an admirable picture by 
 this mafter, reprefenting the wife of Potiphar endeavouring to detain Jofeph. The 
 compofition of that painting is extremely good, full of fire, tafte, and excellent expreflion, 
 and in a broad manner. The naked, in the female figure, is marked with great truth 
 and delicacy; the heads are fine, the colouring is good, and the whole has a ftriking 
 eflect, although his choice of nature cannot be commended. 
 
 In the Palazzo Zambeccari, at Bologna, is to be feen a Sampfon painted by Cignani, 
 in a noble and grand ftyle ; in the fuperb collection of the Duke of Devonfhire, there 
 is a picture of Jofeph difengaging himfelf from the immodefty of his miftrefs j and one 
 of the fame fubject is in the Palazzo Arnaldi at Florence. 
 
 Giovanni CIMABUE. 
 Painted Hijlory and Portrait. 
 
 DIED I3OO, AGED 60. 
 
 At that period when learning, arts and fciences were almoft extinct in Italy, by the 
 perpetual wars and contefts in that country ; and when the knowledge of painting, in 
 particular, feemed totally loft; it happened fortunately to be revived, in a furprifing 
 manner, by Giovanni Cimabue, who from thence obtained the name of the Father of 
 modern Painters. 
 
 He was born of a noble family at Florence, in 1240, and placed at a fchool where he 
 could have the faireft profpect of the beft education; but, even there, inftead of endea- 
 vouring to advance himfelf in literature, he fpent moft of his hours in drawing human 
 figures, horfes, buildings, or any objects that prefented themfelves to his imagination; 
 and appeared to take more real delight in .thofe trifling amufements, than in any kind of 
 ftudious employment. 
 
 At that time, the Governor of Florence invited fome ordinary Greek artifts to that 
 city, who were employed in one of the churches to repair the decayed paintings ; and 
 Cimabue, already prepoflefled in favour of the art, fpent whole days in obferving their 
 
 manner 
 
 * Monf. Cochin, vol. ii. p. 80. 
 
C I M 
 
 £ Hi J 
 
 C I o 
 
 manner of working, to the entire neglect of his fchool education. So ftrong an 
 attachment to thofe Greek painters, prevailed with his father to indulge him in a iludy 
 to which his genius feemed evidently to direct him j and he placed Cimabue with them 
 as a difciple, flattering himfelf with a hope, which appeared prophetic, that he would 
 one day render himfelf remarkably eminent. 
 
 He received the inftruclions of his mailers with fuch eager delight, and applied himfelf 
 fo inceflantly to practice, that in a fhort time he proved far fuperior to his directors, in 
 his tafte of defign and colouring, and painted with equal readinefs in frefco and 
 diflemperj not only defigning hiftorical fubjects, but alfo portraits after the life, which 
 at that time was confidered as a wonderful effort of art. 
 
 It certainly cannot but appear aftonifhing, that in the infancy of painting, and having 
 no other models to imitate, but thofe infipid, dry, ftifF compofitions of the Greeks of that 
 age, Cimabue could arrive at fo much elegance as appeared in fome of his works, fo 
 good a manner of defigning the naked figures, or fo great a propriety as he fhewed in 
 his draperies. Yet we find that one of thofe pict ures, which he painted at Florencej 
 was confidered as fuch a curiofity, that it was carried from his houfe in the higheft, 
 folemn, public pomp, in proceflion to the church of the Virgin Mary, attended by a 
 number of performers on various mufical inftruments, and alfo amidft the loudefr. 
 spplaufes of the citizens. 
 
 Vafari, who was a good painter, and a competent judge of painting, teftifies that he 
 faw a picture executed by Cimabue, when it had been not far fhort of three hundred 
 years painted, which for the grandeur of the defign, the richnefs of the compofition, and 
 the difpofition of the whole, feemed abfolutely aftonifhing, when he reflected on that age 
 of dullnefs and ignorance in which it was produced. 
 
 An old commentator on the poetical works of Dante, who flourifhed in the year 1334, 
 records a circumftance relative to this mafter, which fhews how attentive he was to 
 tranfmit his fame to pofterity. He tells us, that Cimabue was fo folicitous to give his 
 paintings all poffible perfection, that if he himfelf perceived any defect in his work, 
 when it was finifhed, or if any defect was difcovered by others, though the imperfection 
 might have been occafioned either by the badnefs of the materials, or by an injudicious 
 method of applying them, he always immediately defaced it. He was fo refpected and 
 honoured by all orders of men at Florence, that the King of Naples favoured him with 
 a vifit, and was highly delighted with a fight of his works. 
 
 He only painted in diftemper and frefco, as the ufe of oil in painting was not difcovered 
 till the year 1410. He wanted the art of managing his lights and fhadows ; and was 
 totally unacquainted with the rules of perfpective, though he underftood architecture, 
 J3ut, even to this day, he is diftinguifhed by the title of the Father of modern Painting. 
 
 Some of his works are ftill preferved in the church of Santa Croce in Florence. 
 
 Andrea di CIONE. Vid. Orgagna. 
 
 U 
 
 Nicolo 
 
C I R 
 
 C 142 3 
 
 C L A 
 
 Nicolo CIRCIGNANO, called Pomerancio. 
 
 Painted Hi/lory. 
 
 DIED 1588, AGED 72. 
 
 He was born at Pomerancio, a city in the territory of Tufcany, in 151 6, and from the 
 place of his nativity received that furname. He ftudied the art of painting at Rome, 
 and proved an excellent artift ; being much efteemed for his compofition, and alfo for 
 a firm and expeditious manner of working. 
 
 Several of his paintings are in the churches and palaces of Rome, where they are 
 exceedingly admired. In that city is preferved the Martyrdom of St. Stephen, by 
 Pomerancio, which is accounted a capital performance ; and at Loretto there is an altar- 
 piece, reprefenting the Crucifixion, on which the poiTeiTors fet an immenfe value. 
 
 Antonio CIRCIGNANO, called Pomerancio. 
 
 Painted Hi/iory. 
 
 DIED l620, AGED 60. 
 
 He was the fon and difciple of Nicolo, born at Pomerancio in 1560. His manner of 
 painting was exactly in the ftyle of his father, and he aflifted him in feveral very grand 
 works at Rome, by which the reputation of both artifts was effectually eftablifhed. 
 
 The general character which is given to this mafter, is, that he had a ready invention, 
 and a remarkable freedom of hand. 
 
 GIRO FERRI. Vid. Ferri. 
 CLAUDE LORRAINE, or Gelee. 
 
 Painted Landfcape. 
 
 DIED * 1682, AGED 82. 
 
 This admirable, I had almoft faid inimitable painter, was born at Lorraine, in 1600, 
 and ferved an apprenticefhip to the trade of a paftry-cook. In the early part of his life 
 he fhewed no fymptorrrs of that aftonifhing genius, which in his more advanced years 
 ftione out, in works that are beheld with admiration by all the world. He was very little 
 indebted to any mafter for inftruction, except Agoftino Taffi, who had been a difciple of 
 Paul Bril, and with great labour taught Claude fome of the rules of perfpeclive, and the 
 method of preparing his colours. But although atfirft he could with difficulty be taught 
 to comprehend the rudiments of the art, yet, when he began to have fome tolerable 
 conception of them, and to profit by his application, his mind feemed proportionably to 
 expand j his ideas improved; his imagination became more lively; and with wonderful 
 eagernefs he applied himfelf to his ftudies. 
 
 He 
 
 * De Piles fays he died in 1678, but all other authors fix his death in 1682a 
 
/ 
 
 C L A t Hi 1 C L A 
 
 He exerted his ulmoft induftry to explore the true principles of painting, by an 
 incefl*ant examination of nature, that genuine fource of excellence ; for which purpofe, 
 he made his ftudies in the open fields, where he very frequently continued from fun- 
 rife, till the dulk of the evening compelled him to withdraw himfelf from his contem- 
 plations. It was his cuftom to iketch whatever he thought beautiful, or finking ; and 
 every curious tinge of light, on all kinds of objects, he marked in his fketches with a 
 firuilar colour ; from which he perfected his landfcapes with fuch a look of real nature, 
 and gave them fuch an appearance of truth, as proved fuperior to any artift that ever 
 painted in that ftyle. 
 
 The beauties of his paintings are derived from nature herfelf, which he examined 
 with uncommon affiduity; and Sandrart relates, that Claude ufed to explain to him, as 
 they walked through the fields, the caufes of the different appearances of the fame 
 profpect at different hours of the day, from the reflections or refractions of light, from 
 dews or vapours, in the evening or morning, with all the precifion of a philofopher. 
 
 He worked on his pictures with great care, endeavouring to bring them to perfection, 
 by touching them frequently over again; and if any performance did not anfwer his idea, 
 it was cuffcomary with him to alter, to deface, and repaint it again feveral times over, 
 till it correfponded with that image pictured in his mind. But, whatever ftruck his 
 invagination, while he obferved nature abroad, it was foftrongly impreiTed on his memory, 
 that, on his return to his work, he never failed to make the happieft ufe of it. 
 
 His ikies are warm, and full of luftre, and every object is properly illumined. His 
 diftances are admirable, and in every part a delightful union and harmony not only excite 
 our applaufe, but our admiration. His invention "is pleafing, his colouring delicate, and 
 his tints have fuch an agreeable fweetnefs and variety, as have been but imperfectly 
 imitated by the belt fubfequent artifts, but were never equalled. He frequently gave an 
 uncommon tendernefs to his finifhed trees, by glazing ; and in his large compofitions 
 which he painted in frefco, he was fo exact, that the diftinct fpecies of every tree 
 might readily be difKnguiihed. Among feveral of his performances in that manner of 
 painting, one was on the four walls of a magnificent Salon at Rome, belonging to a 
 .Nobleman named Mutius, the height of the walls being very confiderablc. 
 
 On the firft fide he reprefented the veftiges of an ancient Palace, bounded by a deep 
 grove of trees, incomparably exprefled as to the forms, ftems, barks, branchings and 
 foliage ; the proportional grandeur of thofe trees, as well as the length of the grove, 
 were perfpectively and beautifully fet off, by the flirubs and plants with which his ground 
 was diverfified; and the eye waspleafingly conducted to the fecond wall, which feemed, by 
 an artful contrivance and difpofition, to be only a continuation of the fame fcene, the fame 
 elevation of the horizontal line being obferved through the whole work. On the fecond 
 fide, he fhewed an extenfive plain interfperfed with mountains and falls of water, as 
 .alfo with a variety of trees, plants, travellers, and animals; and this part of the 
 compofition was likewife connected with the third wall. In that, the lengthened profpect 
 ihewed a fea-port at the foot of fome high hills, with a view of the ocean, and veffels 
 
 U 2 labouring 
 
CLE [ 144 ] CLE 
 
 labouring amongft the waves, which appeared in violent agitation j and on the fourth 
 wall were reprefented caverns among rude rocks, ruins of buildings, and fragments of 
 antique ftatues ; the compofition, though divided into fo many parts, conftituting in the 
 whole but one entire connected profpedt. But, as to the beauty, truth, and variety of the 
 work, the power of language cannot fufficiently reprefent them. 
 
 As to his figures, if he painted them himfelf, they are very indifferent; though 
 Sandrart affures us, that he fpent a great deal of time and labour in practifing to defign 
 them ; that he drew for fome years in the academy at Rome, after living models, as well 
 as after ftatues ; and that he took much more pains in endeavouring to form his hand to 
 draw figures correctly, than to perfect himfelf in landfcape, in which he was confefTedly 
 fuperior to all. And he was fo confcious of his deficiency in figures, that he ufually 
 engaged other artifts who were eminent to paint them for him; of which number were 
 Courtois, and Philippo Laura. 
 
 His pictures are now very rare, efpecially fuch as are undamaged; and thofe are at this 
 time fo valued, that no price, however great, is thought to be fuperior to their merit. 
 
 In order to avoid a repetition of the fame fubject, and alfo to detect fuch copies of his 
 works as might be injurious to his fame, by being fold for originals, it was his cuftom to- 
 draw (in a paper book prepared for his purpofe) the defigns of all thofe pictures which 
 were tranfmitted to different countries ; and on the back of the drawings he wrote tho 
 name of the perfon who had been the purchafer. That book, which he titled Libro c!i 
 Verita, is now in the pofTeflion of the Duke of Devonfhire. 
 
 Joseph, or Joas Van CLEEF, or Cleeve. 
 Painted H'tjiory and Portrait. 
 
 DIED 1536. 
 
 This matter, who was a native of Antwerp, and a difciple of William Van Cleef, was 
 regarded as the beft colourifl of his time, and his works have often been equalled with 
 thofe of the beft mafters of Italy. 
 
 He painted, in the ftyle of Quintin Matfys, portraits, mifers, and bankers counting or 
 weighing money; but he was allowed to give more force and life to his pictures than 
 Matfys, as his colouring was far fuperior, and as natural as life itfelf. He alfo painted 
 hiftorical fubjects with great fuccefs; and probably might have found very great 
 encouragement in England, if fome of the works of Titian had not appeared at the 
 fame time that Van Cleef went to refide in London. But his own vanity, and his 
 unexpected difappointment, contributed to * turn his brain. 
 
 An altar-piece in the church of Notre Dame at Antwerp, is by this mafter ; it repre- 
 fents St. Cofmus, and St. Damian, and is efteemed to be more in the tafte of the 
 Roman fchool, than of the Flemifli. Likewife, at Amfterdam is to be feen a very 
 
 remarkable 
 
 * Defcamps fays, that being introduced to the King of Spain by Antonio More, he conceived fo extravagant an 
 opinion of his own merit, that he went diffracted by feeing fome of Titian's pictures preferred to his own. 
 
CLE [145 3 CLE 
 
 remarkable picture by Van Cleef, of a Bacchus with grey hair. The countenance of 
 the figure is youthful and ruddy ; and it feems as if the painter by this defign intended 
 to convey a moral inftruction to the fpectator, that excefs of wine haftens old-age. 
 That painting is much efteemed, as well for the defign, as for the excellence of the 
 colouring. 
 
 Henry, and Martin, Van CLEEF. 
 
 Henry painted Land/cape ; and Martin^ Hi/lory. 
 
 Thefe brothers were born at Antwerp ; but Henry refided for feveral years at Rome, 
 and became a very good painter of landfcapes. The moft agreeable views which occurred 
 to him in his travels, he fketched, and referved them as ftudies for his future compofitions. 
 
 He was often employed to paint the back grounds for the pictures of Francis Floris, 
 and finiflied feveral paintings which were left imperfect by that matter j and thofe he 
 
 executed with fo much art, as to make the whole appear only as the work of one hand 
 
 His principal merit was conftituted by the lightnefs of his pencil, and the harmony of 
 his colouring. He was admitted into the academy of painters at Antwerp in 1533, and 
 died in 1589. 
 
 Martin was a difciple of Francis Floris, and had competent abilities to compofe 
 hiftorical fubjects in great, though his inclination directed him to paint in fmall; and the 
 back grounds of his pictures were always painted by his brother Henry. Several very 
 diftinguifhed landfcape p; inters employed him to infert the figures in their works, and 
 among others, Conixlo. He died at the age of 50. 
 
 John Van CLEEF. 
 
 Painted Hi/lory and Architecture* 
 
 DIED I716, AGED 70. 
 
 He was born at Venloo, in 1646, and was a difciple of Gentile, a painter of hiftory at 
 Bruflels ; but, being foon difgufted with the temper of that mafter,he placed himfelf under 
 Gafpar de Crayer. To this new inftructor he fhewed the moft affectionate attachment; 
 and when Crayer difcontinued painting, becaufe his bufinefs feemed to decline at Bruffels, 
 Van Cleef went with him to Ghent; lived with him there for feveral years; and became 
 fo good a painter, that, after the death of Crayer, ne'was thought qualified to finifh the 
 works left imperfect by his mafter, and particularly the cartons for the tapeftry intended 
 for Lewis XIV. He painted a very great number of pictures, having employment from 
 almoft every part of Europe; and in Ghent, moft of the altar-pieces are of his hand. 
 
 His manner was not like that of Crayer but a manner peculiar to himfelf; it was grand 
 and noble, and his pencil was free and flowing. His tafte of compofition refembled that 
 of the Roman fchool; his fubjects were well chofen, and as well difpofed; and though full 
 of figures, there appeared not any thing like confuiion. He enriched his compofitions 
 with grand pieces of architecture, which he thoroughly underftoodj and was much fuperior 
 to Crayer in dslign, though unequal to him in colouring* 
 
 5 The 
 
CLE 
 
 r 14* ] 
 
 C L O 
 
 The heads of fome of his female figures had a good deal of grtice; his -draperies were 
 thrown into large folds, and elegantly cart; and one of his greateft excellencies confifted in 
 defigning and painting boys. 
 
 CLEMENTONE. Vid. Bocciar.di. 
 
 John l e CLERC, called Chevalier. 
 Painted Hiftory. 
 
 DIED 1633, AGED 46. 
 
 He was born atNanci, in 1587; but ftudied in Italy, where he refided for twenty years; 
 and was a difciple of Carlo Venetiano, with whom he worked along time. Though he 
 had an opportunity of examining the productions of the moft eminent artifts, yet he 
 preferred the manner of his own mafter to all others; and he'fo effectually ftudied and 
 imitated that ftyle of painting, that feveral of the pictures which were finifhed by Le Clerc, 
 were taken for the work of Venetiano. 
 
 He was moft highly efteemed at Venice, for his extraordinary merit ; and as a token of 
 public refpect, he was made a Knight of St. Mark. His freedom of hand was remarkable, 
 he had a light pencil, and in his colouring he refembled his mafter. 
 
 Francis de CLEYN. 
 Painted Hiftory and Grotesque. 
 
 DIED 1658. 
 
 He was born at Roftoch, but travelled to Rome, and ftudied there for four years. — 
 Among other branches of knowledge, he acquired, in that city, a tafte for the beautiful 
 and ornamental grotefque, in which he arrived at very great excellence. 
 
 In the reign of King James I. he went to England, received a penfion from the crown, 
 was employed to draw defigns for tapeftry, and lived in great favour with the Monarch 
 who was his patron. Some of the paintings of this mafter are ftill extant in Holland- 
 Houfe; there is one cieling in grotefque, and there are fmall compartments on the chimnies, 
 fomewhat in the ftyle of Parmigiano. He was much commended for the readinefs of his 
 invention, and made feveral defign^ for painters, fculptors, and engravers, which were 
 accounted extraordinarily good. 
 
 N. CLOSTERMAN. 
 
 Painted Portrait. 
 
 DIED I7I3, AGED 57. 
 
 He was born at Hanover, in 1656, and went to London in the year 1681. At firftj he 
 painted draperies for Riley j but foon after, they painted in conjunction, Riley ftill continuing 
 
 to 
 
C L O 
 
 [ H7 ] 
 
 CLO 
 
 to draw moft of the heads. But, on the death of that mafter, Clofterman finiftied many 
 of Riley's pictures, which recommended him to the favour of the Duke 6f Somerfet, who 
 had patronifed Riley. 
 
 He fpent the greateft part of his life in London, where he received fufficient encou- 
 ragement, and was employed by fome of the principal Nobility. However, he was but 
 a very moderate artift; his colouring was ftrong, but heavy; and his portraits were 
 (without any idea of grace) plain and fervile imitations of his models. 
 
 In the year 1696, he was invited to the Court of Spain, to paint the portraits of the 
 King and Queen; and he returned from that Court enriched, and refpected ; and he might 
 have enjoyed very affluent circumftances, had he not fhewn a foolifh and infatuated 
 fondnefs (as Houbraken tells us) for a girl that he kept in his houfe. That infidious 
 young woman, who had taken care to perfuade him that me was entirely attached to his 
 perfon and intereft, watched a proper opportunity, and robbed him of all his money, plate, 
 jewels, and every coftly moveable, and fled out of the kingdom. So fudden and fo 
 unexpected a misfortune, againft which he was totally unprepared, affected Clofterman 
 fo violently, that he pined away his life; not long furviving the lofs of his effects, and 
 the infidelity of his miftrefs. 
 
 Giorgio Giulio CLOVIO. 
 Painted Hi/lory and Portrait. 
 
 DIED I578, AGED So. 
 
 He was born in Sclavonia, in 1498; and having in the early part of his youth applied 
 himfelf to literature, his genius prompted him to purfue the art of painting for a profeffion; 
 and at eighteen years of age he went to Rome, where he fpent three years to perfect his 
 hand in drawing, and devoted himfelf entirely to painting in miniature. His knowledge 
 of colouring was eftablifhed, by the inftructions of Julio Romano, and his tafte of 
 compofition and defign was founded on the obfervations he made on the works of Michael 
 Angelo Buonaroti. By thofe afliftances he proceeded to fuch a degree of excellence, in 
 portrait as well as in hiftory, that in the former he was accounted equal to Titian, and 
 in the latter not inferior to Buonaroti. His works are exceedingly valuable, and arc, at 
 this day, numbered among the curiofities of Rome. 
 
 Vafari,who had feen the wonderful performances of Clovio, with inexpreftible aftonifh- 
 ment, enumerates many of his portraits and hiftorical compofitions ; and feems to be 
 almoft at a lofs for language fufnciently expreffive of their merit. He mentions two or 
 three pictures on which the artift had beftowed the labour of nine years ; but the 
 principal picture reprefented Nimrod building the Tower of Babel, which was fo 
 exquifitely finifhed, and fo perfect in all its parts, that it feemed quite inconceivable 
 how the eye or the pencil could execute it. He fays it is impoflible to imagine anything 
 fo admirably curious, whether one confiders the elegance of the attitudes, the richnefs 
 of the compofition, the delicacy of the naked figures, the perfpective proportion of the 
 3 objeas, 
 
COD [ 148 J COL 
 
 ..objects, the tender diftanees, the fcenery, the buildings, or other ornaments j for every 
 part is beautiful, and inimitable. 
 
 He alfo takes notice of a fingle ant, introduced in one of the pictures of this mafter, 
 which, though exceedingly and incredibly final], is yet fo perfect, that even the molt 
 minute member was as -diftinct as if it had been painted of the natural fize. 
 
 CQDAZZO. Vid. Viviano. 
 
 Giles COIGNET, called Giles of Antwerp. 
 
 Painted Hiftory and Grotefque* 
 
 DIED l600, AGED 70. 
 
 This painter was born at Antwerp, in 1530, and lived for fome time with Antonio 
 Palermo, till he went to Rome, accompanied with one Stella; in which city they 
 worked as aflbciates, and both of them were foon diftinguifhed for their merit. As their 
 reputation increafed, they were engaged in feveral other cities of Italy, particularly at 
 Terni, between Rome and Loretto, where they finifhed many hiftorical fubjects, as 
 alfo fome in the grotefque ftyle, in frefco as well as in oil. 
 
 He travelled through all Italv, Naples, and Sicily, much refpected wherever he came ; 
 and at laft returned to his own country, where he could fcarcely execute the different 
 works which he was folicited to undertake for the churches, and likewife for the 
 cabinets of the nobility. 
 
 Frequently he employed Cornelius Molenaer to paint his back grounds with 
 landfcapes, or architecture ; and fometimes he delighted to paint hiftory in fmall, which 
 generally contained a great number of minute figures, illumined by the moon, or by the 
 light of flambeaux, luftres, or fires. But his figures had no elegance in their forms, 
 nor tafte in their difpofition ; for, although he took pains to finifh his pictures highly, 
 with a free touch, and a firm pencil, yet, after all his labour, bis manner feemed dry 
 and hard. 
 
 His greateft reproach is, that he employed his difciples in copying his works, which he 
 afterwards retouched, and fold them for originals. By that means it is not eafy to know 
 -his genuine works ; and the imperfections obfervable in many of his pictures are of 
 neceffity afcribed to himfelf, to the great diminution of his credit. 
 
 De COLOMBIEN. Vid. Valentine. 
 
 Adam COLON I, called the Old. 
 Painted Hi/lory, Cattle-, and Landfcape. 
 
 DIED 1685, AGED 51. 
 
 He was born at Rotterdam, in 1634; but refided, and died in London ; and was parti- 
 cularly noticed for his compofitions in fmall, of country wakes, fairs, markets, and 
 rural fubjects, and alfo for his cattle. 
 
 Several 
 
COL 
 
 [ H9 1 
 
 COM 
 
 Several pictures of the Baflans were copied by him with great fuccefs, after the 
 originals in the royal collection, and others in the cabinets of the Englifti Nobility; 
 and he fupported a good reputation as long as he lived, although at prefent his works 
 are in no very great efteem. 
 
 Adrian COLON I, called the Young. 
 Painted Hijlory, Cattle, Converfatiom, and Land/capes- 
 
 DIED I7OI, AGED 33. 
 
 This painter was the'fon of Adam Coloni, born in 1668, and inftru&ed in Hs 
 profeflion by his father, and his brother-in-law Van Dieft. He took pains to improve 
 himfelf in his defign, by ftudying after good models, and the beft calls he could procure; 
 and by that application acquired a great freedom of hand in drawing, and gained 
 reputation by a number of academy defigns which he finiftied. 
 
 Frequently he painted the figures in the landfcapes of Van Dieft, though fome of them 
 were indifferently defigned, were incorrect in the drawing, and neither judicioufly 
 contrived, nor elegantly difpofed ; but fuch figures as he painted in imitation of the tafte 
 of Salvator Rofa, were an additional ornament to the landfcapes of his employer. He 
 was accounted to have a lively and ready invention, and great quicknefs of execution , 
 t>ut at this day he is not held in any confiderable rank among the artifts. 
 
 COLONNA. Vid. Michael Angelo. 
 
 Andrea COMMODI. 
 Painted Hijiory. 
 
 DIED 1638, AGED 78, 
 
 He was born at Florence, in 1560, and was a difciple of Ludovico Cardi, called 
 'Cigoli ; but, having an ambition to be thoroughly mafter of defign, he ftudied anatomy, 
 architecture, and perfpective, and alfo the art of modelling. When he had completed 
 himfelf in thofe different branches, he travelled to Rome, to enrich his mind by obfer- 
 vations on the beft works of ancient and modern artifts, and became one of the moft 
 efteemed painters of his time, for correctnefs and truth. 
 
 One picture which he painted for Pope Paul V. procured him univerfal applaufe. The 
 fubject of that performance was, the Fall of Lucifer and his companions ; and he had 
 introduced a multitude of figures in the compofition, which were defigned with tafte and 
 judgment, and were remarkable for the variety of difficult and fine attitudes, as alfo for 
 the terrible expreffion. 
 
 After continuing for fome years at Rome, he returned to his native city ; and as he 
 had a prodigious power of imitating every ftyle with incredible exactnefs, whether it 
 were landfcape or hiftory, he was almoft perpetually employed in copying the moft curious 
 
 X paintings 
 
CON 
 
 C 150 ] 
 
 con 
 
 paintings of the celebrated' ancient matters, which were preferred in the churches and 
 convents, and in the collections of the Grand Duke and the Nobility of Florence. It 
 is no ineonfiderable honour to Commodi, that Pietro da Cortona was his difciple. 
 
 Sebastian CONCA, called Cavalier. 
 Painted Hijlory and Portrait, 
 
 DIED I761, AGED 82~ 
 
 He was born at Gaeta, in 1679, and placed as a difciple with Francefco Solimena, an< 
 incomparable matter. Under his direction Conca exerted his utmoft induftry, to obtain, 
 a proper degree of knowledge of the true principles of the art of painting ; nor did he 
 permit any kind of amufement to withdraw his- attention from his ftudies. 
 
 Solimena foon perceived in his difciple fuch talents, and fuch a difpofition, as would 
 qualify him to make a very great progrefs ; and on that account, he conceived fo ftrong 
 an affection for him, that he not only afforded him the beft inftructions,, but often 
 employed him to fketch after his own defigns; took him along with him to Monte 
 Caffino, where he was to paint a, chapel in frefco; and there made Conca acquainted with 
 every thing relative to that manner of painting; 
 
 At his return to Naples with Solimena, he was, if poffible, ftill more ailiduous to 
 improve himfelf "to the utmoft; and entered on a project, that might at once advance his 
 income, and add to his expertnefs in his profeffion. That project was, to paint portraits 
 in a fmall fize, and at a low rate; by which fcheme all ranks of perfons crowded to him;, 
 and befide the pecuniary advantages refulting from it, he acquired an extraordinary freedom 
 of hand, in penciling and colouring ; a good habit of imitating nature, with an elegant, 
 choice; and likewife, great diverfity of airs of heads, which were of extraordinary ufe . 
 to him in his future beautiful ccmpofitions. 
 
 As he had a great defire to fee Rome, he obtained permiffion from Solimena to indulge 
 his inclination; and although he was near thirty years of age, when he vifited that city,, 
 yet he fpent eight years in conftant ftudy after the antiques, after Buonaroti, Raphael, 
 and Caracci, and perfected himfelf in every part of his profeffion. 
 
 The fame of his works foon fpread throughout Rome, and procured him the patronage 
 of Cardinal O'ttobuoni, who was a princely encourager of artifts : at Conca having.fhewn 
 an elegant proof of his abilities, in a compofition, representing Herod inquiring of the 
 wife men the place of the birth of the Meffiah, the figures being as large as life, the 
 Cardinal thought it- fo excellent a performance, that he rewarded him in a munificent 
 manner, entertained him in his own palace, and introduced him to Pope Clement XI. 
 who appointed Conca to paint the picture of the Prophet Jeremiah, in the church of 
 St. John Lateran; which he executed with univerfal applaufe. On that occafxon, the Pope 
 was defirous to give him fome particular mark of his efteem ; and therefore, in a general 
 suTembly of the Academicians of St. Luke, he conferred on him the order of knighthood; 
 
 and 
 
CON 
 
 t 151 3 
 
 CON 
 
 -and the Cardinal prefented him with a rich diamond crofs, which Conca, out of refpeci 
 <to his patron, always wore at his bofom. 
 
 From that time he was inceffantly employed, and bis works were foliated by moll: of 
 the Princes of Europe. The churches and chapels of every part of Italy are enriched 
 with fome of his compofitions ; of which he painted an incredible number, as he lived to 
 a very advanced age, and never difcontinued his labours. 
 
 He was earneflly invited by Philip V. of Spain to vifit his Court, but he could not be 
 prevailed on to leave Rome. He painted two admirable pictures for the King of Poland, 
 with figures as large as life : in one was reprefented Alexander prefenting Bucephalus to 
 Philip, after he had managed him ; a grand compofition, with a multitude of figures, 
 correctly defigned, and charmingly grouped and difpofed ; the whole being adorned with 
 moft elegant architecture, in true and beautiful perfpective. The other was, the Marriage 
 of Alexander with Roxana, the daughter of Darius, which was in every refpect equal to 
 the former. 
 
 He was at laft fo ftrongly preffed to go to Naples, that he undertook the journey j and 
 was received in that kingdom with all the refpect and honour due to his merit ; and there 
 he finiftied feveral noble defigns, as alfoat Gaeta his native city. While he continued at 
 Naples, he received, in the royal prefence, a muff-box of very great value, prefented to 
 him in the King's name by the Marquis of Tanucci, at that time prime minifter; and 
 in the year 1757 the King was pleafed to ennoble him and all his defcendants. At that 
 -time he was 78 ; and it is confidently faid, that he died in 1761, aged 82, which is very 
 probable, though not pofitively certain. 
 
 He understood perfpective and architecture thoroughly, and added to it a fine under- 
 franding of the chiaro-fcuro. His ftyle of compofition is grand and elegant ; his defign 
 very correct ; his difpofition ingenious j his attitudes and expreflion full of truth, nature, 
 and variety ; and his colouring is excellent. 
 
 The Hiftory of Diana and Actaeon, by Conca, is in the pofleflion of the Earl of 
 Pembroke at Wiltoru 
 
 Ecidius, or Gilles CONINGSLOO, or Conixlo, 
 
 Painted Land/capes. 
 
 DIED 1609, AGED 65. 
 
 This matter was born at Antwerp, in 1544, and at firft was placed with Peter Van 
 Aelft the younger, with whom he continued for fome years ; but afterwards he became a 
 difciple of Leonard Kroes, who painted hiftory and landfcape in diftemper, and he alfo 
 received fome inftruction from Giles Moftaert. For .feveral years he worked in France, 
 at Paris and Orleans and, in fearch of greater improvement, travelled to Rome, where 
 he ftudied for a cortfiderable time. 
 
 His works, as foon as they were known, were much coveted; for, at that time, his 
 iafte in landfcape happened to be greatly admired, and his paintings were readily bought 
 
 X 2 by 
 
CON 
 
 C 152 1 
 
 CON 
 
 by the dealers in pictures, who fent them to different parts of Europe, where they brought 
 a good price ; and even the Emperor purchafed many of them, which he placed among 
 the moft capital paintings in his collection. 
 
 The touching of his trees was very free and mafterly ; his pencil was light j and the 
 variety in the difpofition and breaking of his grounds, evidently fhew the richnefs of his 
 genius. His ftyle of colouring is pleafant, if it be not frequently too green j but his 
 fcenes are generally crowded, and too much incumbered. However, there is fuch tranf- 
 parence in his colour, and fuch freedom in the handling, that, upon the whole, they have 
 a very agreeable effect. 
 
 The figures in his landfcapes were ufually painted by Van Cleef ; and as Coningfloo 
 was juftly efteemed one of the beft matters of his time, in the ftyle that was peculiar to 
 him, fo was that ftyle ftudioufly imitated by many fubfequent artifts. 
 
 Giovianni CONTARINL 
 Painted Hijiory and Portrait. 
 
 DIED 1605, AGED 56. 
 
 He was born at Venice, in 1549; and being poiTeffed of a very happy genius, he 
 applied himfelf induftrioufly to ftudy and to copy the works of Titian ; and by that means- 
 became excellent in colouring, and painted portraits with a great deal of force, fweetnefs 
 of tint, and ftrong refemblance; and alfo painted hiftory, with remarkable tafte and 
 correctnefs of defign. 
 
 When his reputation was well eftablifhed, and his abilities fuiEciently known, he 
 travelled to Germany, and met with all poffible encouragement and approbation among 
 the Princes and Nobility wherever he went. His manner was lively and pleafmg, and 
 through all his compofitions might be obferved the imitation of that incomparable artiifc. 
 Titian, whofe excellence is fo well known in every part of Europe.. 
 
 Jacopino dal CONTE- 
 Painted Hijiory and Portraits 
 
 DIED I598, AGED 88. 
 
 This matter was born at Florence, in 1510, and was a difciple of Andrea del Sarto, 
 with whom he learned defign and colouring. But although he ftudied and pradtifed 
 hiftorical compofition principally, while he was under the care of that matter, yet his 
 inclination directed him moftly to the painting of portraits, and in that branch he arrived 
 at a high degree of excellence. 
 
 The portrait of Pope Paul III. which he drew, gained him not only extraordinary 
 applaufe, but obtained for him the patronage of that Prelate ; and moft of the Cardinals 
 at Rome employed and generoufly rewarded him. But his talent was not confined to 
 
 •2 portrait 5 
 
coo 
 
 C iS3 J 
 
 COO 
 
 portrait; for his reputation as an hiftorical painter was equally diftinguifhed. In his 
 compofitions of that kind, he generally defigned a great number of figures, with attitudes 
 that were natural and elegant; his outline was correct, his tafte noble,, and his colouring 
 truly beautiful. 
 
 Samuel COOPER. 
 
 Painted Portraits in Miniature, 
 
 DIED 1672, AGED 63. 
 
 He was born at London, in 1609 ; and was a difciple of John Hofkins, his uncle. 
 His genius inclined him to paint portraits in miniature, and in that ftyle he proved far 
 fuperior to any of his own countrymen, and was accounted in fome refpects not inferior 
 to the beft artifts of Italy. 
 
 He was commonly called the Vandyck in fmall, as he refembled that celebrated rnafter, 
 in the beauty and clearnefs of his colouring, the agreeable turn of the head, or the fpirit 
 and relief of his portraits. He expreffed the hair inimitably, and gave fuch tendernefs 
 and life to his figures, that his work was univerfally admired, in all parts of Europe where 
 there is any tafte for the polite arts, as well as in his own country; and the prices which 
 they now bring are incredible. 
 
 However, a great portion of that merit to which this artift arrived, was really imputable 
 to Vandyck, in whofe time he lived ; whofe works he ftudied inceffantly, and copied many 
 of them, either to improve himfelf by getting the habit of imitating him, or at the defire 
 of others who rewarded him for his labour. But a diftinguifhed * writer and connoifleur 
 juftly obferves, that notwithftanding the confefTed merit of Cooper, as to the head and 
 hair in his portraits, yet his power was confined to the head only; and the incorrectnefs 
 of his drawing, when he proceeded lower, cannot but fir ike every judicious eye. It is 
 by the defect in his drawing, that perfons of fkill account for fo many of his pictures 
 being left unfinifhed. His chief excellence confifted in the variety of tints which 
 he introduced to render his carnations more clear, and in the loofe management of the 
 hair, f 
 
 Alexander COOPER. 
 
 Painted Portraits in Miniature and Landscape. 
 
 He was the elder brother of Samuel Cooper, who learned the art of painting from 
 John Hoikins. But although he became a good artift in limning, yet he was in no degree 
 
 of 
 
 * Mr. Walpole, in the Anecdotes of Painting. 
 
 j Among many incorrections obfervable in the Hiftorical Tables publiiTied by Mr. Harms, he feems to be remarkably 
 Wrong in his account of this pointer; for he mentions Samuel Cooper, as having lived principally at Stockholm, which 
 muft be a miftake, Cooper having always liv-ed in England, and principally in London, where he died in 1672, and was 
 buried in Pancras church. Perhaps the author of thofe Tables means one Alexander Cooper, elder brother to Samuel, 
 who refided for fome time at Amfterdam, and was afterwards in the fcrvice of Queen Chriftina, as her miniature- 
 painter. 
 
COP 
 
 C 154 ] 
 
 of competition with his brother. He followed his profeiTion in feveral cities of the 
 Low Countries, and particularly at Amfterdamj from whence he was invited to Sweden, 
 where he had the honour of being appointed limner to Queen Chriftina. 
 
 He alfo painted landfcapes in water-colours extremely well, and was accounted to have 
 a correct manner of drawing. 
 
 Cavalier C O P P A, 
 
 Painted Hi/lory, 
 
 DIED 1665, AGED 70. 
 
 This mafter was born in 1595, and learned defign and colouring in the fchool of 
 Guido; where, by the precepts and exquifite example of that great genius, he acquired 
 a delicate tafte of compofition, as well as . a beautiful tint of colour, and became a painter 
 of high reputation. 
 
 His ftyle of defign, and his manner of handling, entirely refembled that of his mailer; 
 and his principal works are in the churches and chapels of Verona, where they arc 
 exceedingly regarded. 
 
 Gonzalo CO Q_U E S. 
 -Painted Portraits and Converfations, 
 
 DIED 1684, AGED 66. 
 
 He was born at Antwerp, in 1618, and was a difciple of the old David Ryckaert ; 
 under whofe direction he applied himfelf diligently, to cultivate thofe promifing talents 
 which he poflefled ; not only by practifing the beft rules adminiftered to him by his 
 inftru&or, but alfo by ftudying nature with lingular attention. 
 
 When he faw, and confidered, .the works of Vandyck, he was ftruck with furprife, 
 at beholding fuch elevation of mind, fuch force of colour, fuch life, expreffion, and 
 handling as were vifible in every compofition of that great mafter ; and as that manner 
 feemed moft conformable to his own genius, he fixed on Vandyck as his model, and had 
 the happinefs of fo far fucceeding in his attempt, that next to that inimitable artift, he 
 was efteemed equal to any other painter of his time. 
 
 In the fchool of Ryckaert he had been accuftomed to paint converfations ; and he 
 frequently compofed fubje&s of fancy like Teniers, Oftade, and his mafter j and by that 
 habit, he introduced a very agreeable ftyle of portrait-painting, in a kind of hiftorical 
 converfations, which feemed much more acceptable to perfons of tafte, than the general 
 manner of painting portraits, and procured him great reputation and riches. 
 
 In that way he compofed feveral fine pictures for King Charles I. and likewife feveral 
 ,for the Arch-Duke Leopold, and the Prince of Orange ; which latter Prince, as a mark 
 of refpect, prefented Coques with a rich gold chain, and a gold medal on which the b.ufl: 
 *f that Prince was impreffed. 
 
 5 He 
 
COR 
 
 C 155 J 
 
 COR 
 
 He had an excellent pencil j his portraits were well defigned, with eafy, natural 
 attitudes ; hedifpofed the figures in his compofition, fo as to avoid confufion, or embarraf£- 
 ment ; he gave an extraordinary clearnefs of colour to his heads and hands ; and his 
 touch was free,, firm, and broad, a circumftance very uncommon in works of a fmall 
 fize. 
 
 CORIARIO. Vid. Arto Leone. 
 
 Lucas CORNELII, or Cornelisz* 
 
 Painted Portrait and Hi/lory,- 
 
 He was born at Leyden, in 1495, became the difciple of Cornelius Engelbrecht, and 
 was reputed an extraordinary artift in his time; being acknowledged equally excellent in 
 his paintings in diftemper,. and in oil- 
 Yet, as he found very fmall encouragement in his own country, the lovers and 
 admirers of painting being but few, he turned his attention to England, where 
 Henry VIII. fhewed a peculiar fondnefs for the artifts, and feemed defirous not only to 
 introduce them, but alfo to eftablifh them, in his dominions. Thither Lucas directed 
 his courfe, accompanied by his wife, and. a large family, of children ; and received fo 
 many marks of favour from the King, to whom he was appointed principal painter, and 
 fuch kindnefs and liberality from the benevolent nobility and gentry of that kingdom, 
 that he feems to have fettled there entirely; for,. Sandrart obferves, that he could obtain 
 no particulars of his life from the time he quitted his own country, except that in general 
 he lived in affluence and great efteem in England. 
 
 At Leyden, a picture of his, reprefenting the Woman taken in adultery, is highly 
 admired; and in England, at Penfhurft, the portraits of the Conftables of Queenborough 
 caftle, from the reign of Edward III. to the third year of Henry VIII. are painted by 
 his hand. 
 
 J a qjj e s CORNELISZ. 
 Painted Hi/lory. 
 
 This painter was born at Ooft-Sanen about the year 147 1, and the city of Amfterdara 
 boafts much of his remarkable genius and talents. Van Mander fays, that in the year 
 1512 he was confidered as a very great mafter. 
 
 In the old church at Amfterdam is preferved a Defcent from the Crofs, by this 
 Cornelifz. It is an altar-piece, and Mary Magdalen is there reprefented as fitting at the 
 foot of the Crofs. Likewife at Haerlem there is a picture of the Circumcifion, painted 
 in 1 51 7) which is extremely commended. Van Mander praifes in high terms adefign of 
 this matter's, in the church at Alkmaar. The fubjecT: is the Paflion of our Saviour; the 
 compofition of the whole is good, and the actions and expreflions natural and ftrong, 
 particularly the expreffion of the malignity of the executioners who are extending Chrift 
 ypon the Crofs. 
 
 He died at a very advanced age, in Amfterdam,. 
 
 Cornelius 
 
COR 
 
 C 15& ] 
 
 COR 
 
 Cornelius CORNELISZ, called Cornelius Van Haeriem, 
 
 Painted Hijiory and Portrait. 
 DIED 1638, AGED 76. 
 
 He was born at Haerlem, in 1562; and from his youth gave evident tokens of an apt 
 genius, and a ftrong propenfity to the art of painting. He was placed under the care of 
 Peter Le Long the younger, who was at that time in eftablifhed credit j and in a fhort 
 fpace he made fuch a rapid progrefs, that he was diftinguifhed by the appellation of 
 Cornelius the Painter, and very far furpafled his mafter. His real name was Cornelifz; 
 but his merit in his profeflion, and the city where he was born, have afforded him the 
 name of Cornelius Van Haerlem, by which he is now univerfally, and only known. 
 
 When he quitted his mafter, he determined to improve himfelf by travelling to Italy, 
 being then only feventeen years of age; but his project was difconcerted by a concur- 
 rence of accidents, and he was allured to Antwerp, by the fame of the artifts in that 
 city. On his arrival he placed himfelf with Francis Pourbus, and afterwards with Giles 
 Coignet; and by their inftructions he corrected and improved his firft manner, which 
 was raw and hard, and acquired a more foft, neat, and agreeable ftyle of colouring and 
 penciling* 
 
 As a teftimony of his refpect to his instructor Coignet, he prefented him with a flower- 
 piece of his painting, which was copied from nature, touched in a mafterly manner, and 
 delicately finifhed ; and likewife a compofition, confifting of naked female figures, well 
 defigned, and beautifully coloured, which juftly merited the great value that Coignet 
 ever after fet upon them. 
 
 His colouring in portraits, as well as in hiftory, was truly fine ; the difpofition of his 
 figures good, and often elegant ; the hands and extremities are well defigned, and the 
 expreflions noble. As he had no opportunities of ftudying the antique at Rome, he 
 formed his tafte from the beft cafts and models that he could procure, carefully imitating 
 nature in all his performances. 
 
 He painted equally well in large and in fmall ; but although he finifhed a great number 
 of pictures, yet they are not often to be purchafed. One of his large defigns was the 
 Battle of the Giants j and another, the Deluge, in which the naked figures, and the 
 different ages of thofe in the latter compofition, are extremely well expreifed. 
 
 Octavio CORRADI. 
 Painted Hijiory and Portrait. 
 died 1643. 
 
 This mafter was born at Bologna, and was a difciple of Giacomo Cavedone ; but his 
 principal merit confifted in copying the works of other painters of eminence, which he 
 executed to the greater!: perfection j many of his copies being, even in his own time, 
 accounted originals of thofe matters which he imitated. 
 
 Antonio 
 
COR 
 
 t 157 J 
 
 COR 
 
 Antonio da CORREGGIO. 
 
 Painted Hi/lory, 
 
 * DIED I534> AGED 40. 
 
 The true name of this illuftrious painter was Antonio de Allegris; but he obtained 
 the name of Correggio, from an inconfiderable town in the Modenefe, where he was 
 born in 1494. He was a difciple of Francefco Bianchi, called il Frari da Modena; but 
 to nature alone was he indebted for every excellence he poffeffed. For, although he 
 might have received fome knowledge from his inftructor, yet his manner had nothing that 
 refembled, in any degree, that of Bianchi, or any other artift; nor had he either 
 curiolity, or fumcient refolution to vifit Rome, to examine and ftudy the antiques, or to 
 obferve the productions of modern genius. By the admirable turn of his own mind, 
 and taking nature for his director, he became one of the moil pleafing painters, and mpft 
 efteemed artifts, that have appeared fince the revival of the art ; and has always been 
 placed in the higheft rank of merit, by all thofe who underftand the art of painting, or 
 are capable of judging of its excellencies. 
 
 He was peculiarly happy in a beautiful choice; in his carnations appears an inexpreffible 
 delicacy, united with the utmoft force and truth ; and his touch is exquifite. It is impofliblc 
 to fee any thing more tender, more foft, or more round, than his figures, without the 
 fmalleft harfhnefs of outline, though his outline is not always correct. He was the firft 
 who brought the true art of fore-fhortening figures, to the utmoft perfection, which he 
 effected merely by the power of his own extenfive genius ; and by that art he decorated 
 the domes of churches, and the cielings of palaces, in a ftyle that agreeably furprifed every 
 beholder, as well by its novelty and beauty, as by its aftonifhing effect. 
 
 He found out certain amiable and graceful airs for the heads of his Madonna's, faints, and 
 boys, which diftinguifh him from all others, and render him not only fuperior to moft, but 
 inimitable. His thoughts were grand and elevated, his pencil uncommonly tender and 
 delicate ; he had the power of touching the paflions, by the truth and elegant fimplicity of 
 his exprefiions ; and, as to his colouring, it could not fo juftly be called a beautiful imitation 
 of nature, as nature itfelfc 
 
 Y In 
 
 * In the dates of the birth and death of Correggio, I have followed the authors of the Abrege de la Vie des Peintres, 
 though I am not thoroughly fatisfied that thofe dates are indifputable. For, De Piles and the Chronological Tables agree 
 •that he died in 1513, at the age of 405 Vafari aifo and Sandrart afTure us, that the greateft part of the works of 
 Correggio, were finiftied in 15 12. But, for the fatisfaclien of thofe connoiffeurs, whofe judgment maybe far fuperior 
 to mine, I have fet down the teftimonies of different authors on the Cubjecl. 
 
 According to De Piles, Correggio died in 151 3, aged 40. 
 ■ to the Chronol. Tables, he died in 1513, aged 40. 
 
 • 1 to the Abrege, &c. he died in 1534, aged 40. 
 
 j 1 ■ 'to Vafari, and Sandrart, the greateft part of his works were finiflied about the year 1512; but, Vafari 
 does not mention the year of his birth or death, and only obferves that h« died about 60 years of age. 
 
COR 
 
 i 158 ] 
 
 COR 
 
 In defign, Correggio was not as excellent as in his colouring; but, notwithftanding any 
 incorrectnefs in that refpect, his perpetual elegance of tafte in defign, and the turn which 
 he gives to his actions, muft always command our admiration. He had a manner peculiar 
 to himfelf, of diftributing his lights with fo great judgment, as to give an amazing relief 
 and force to his figures; and this manner confifted in extending a large light, and then 
 making it infenfibly lofe itfelf in the dark fhadowings, which he placed out of the mafles. 
 
 But, although his powers were wonderful in many parts of his art, yet he had no great 
 variety of graceful attitudes, nor did he groupe his figures with all that beauty which might 
 be expected from fuch an enlarged genius. But, he defigned heads, hands, and feet, in a 
 tafte that was truly admirable; and finifhed his pictures with fuch neatnefs, purity of tints, 
 and union of colour, that they appear as if they had been executed in one day. 
 
 A late writer obferves, that Correggio fpoiled the natural tints fometimes, by ufing the 
 red and blue too freely, and has now and then robbed things of their body, by fhading them 
 too much, and melting them, as it were, into one another. But, perhaps we ought to 
 forgive Correggio every appearance of imperfection, on account of that unufual greatnefs 
 of manner, that life and foul, which he has infufed into all his figures. 
 
 He painted with a fufficient body of colour, but highly wrought up, yet without any 
 diftinguifhable fmart touches of his pencil; and every tint contributes to a general 
 harmony. Many of his pictures are faid to be painted on leaf gold, in order to give them 
 a greater degree of mellownefs and luftre. 
 
 The celebrated Cupola, in the Cathedral at Parma, executed by Correggio, has long 
 been the admiration of all perfons of tafte, for the grandeur of the defign, the warmth of 
 imagination, and the boldnefs of the fore-fhortenings, which are reprefented with all 
 poflible propriety, and pofiibility; but, in a chamber belonging to that Cathedral, may be 
 feen one of the moft lovely pictures painted by this great genius. The fubject is, the 
 Virgin Mary, and the infant Jefus; Mary Magdalen is reprefented as kifling the feet of 
 the infant, and St. Jerom is ftanding by. And it is juftly remarked that, in that com- 
 pofition, the complexions of the child, the mother, the faint, and the Magdalen, are all 
 varied, agreeably to their different ages and characters. This picture is incomparably 
 beautiful for the colouring; and the head of the Magdalen is one of his moft perfect 
 performances, in refpect of the frefhnefs and lovelinefs of the tints. The heads, and the 
 extremities of all the figures, are defigned with inexpreflible grace, though in fome 
 particulars the defign is a little incorrect. 
 
 Two of his moft capital pictures are a Leda, and a Venus, intended as a prefent from 
 the Duke of Parma to the Emperor : the figures are naked, and the flefh was fo inimitably 
 tender, clear, foft, and delicate, that it had more the appearance of real flefh, than the 
 production of the pencil. In each picture there was a lovely landfcape; but, in that of 
 the Venus, two Cupids were introduced, as trying their arrows of gold and lead on a 
 touchftone; and from a rock iflued a ftream of tranfparent water, which, in its courfe, 
 flowed over the feet of Venus, and feemed fo perfectly lucid, that it rather increafed the 
 delicate foftnefs of the flefh, than concealed any part of its beauties. 
 
 £ But, 
 
COR 
 
 r 159 j 
 
 cos 
 
 But, in the palace at Mode na, was that remarkable painting, called the Notte, or Night 
 of Correggio. The fubjecT: of it is the Nativity of Chrift, in which the light proceeds 
 from the infant, illuminating the fhepherds and fpectators, among whom one figure of a 
 woman is reprefented as being fo ftrongly affe&ed by that ray of glory which iffues from 
 the babe, that fhe holds one hand between her face and the infant, to avert the dazzling 
 brightnefs with which me feems as if overpowered. Julio Romano, on feeing thofe 
 pictures, declared they were fuperior to any thing in painting that he had yet beheld. 
 
 Jacomo CORTES I. Vid. Bourgognone. 
 
 Gio vanna Marmocchini CORTES I. 
 Painted Portrait* 
 
 DIED I736, AGED 66. 
 
 This paintrefs was born at Florence, in 1670, and inftru&ed in the art of painting by 
 Livio Mehus, and Pietro Dandini; but, by order of the Grand Duchefs, fhe was 
 afterwards taught to paint in miniature, by Hippolito Galantini. 
 
 In that ftyle of painting fhe, in a few years, became extremely eminent} and was 
 univerfally applauded for a pleafing and natural tint of colouring, for a pencil Angularly 
 neat and tender, and for a very lively and ftriking refemblance of the perfons whofe 
 portraits fhe drew. 
 
 She ufually worked in oil; but fhe alfo painted with crayons, in which fhe fhewed an 
 equal degree of merit, and gave thofe paintings all the tendernefs and warmth of life. 
 
 Pietro da CORTONA. Vid. Berretini. 
 
 Pietro Paolo CORTONESE. Vid. Gobboi 
 
 John C OSIERS. 
 
 Painted Hi/lory. 
 
 This artift was born at Antwerp, in 1603, and placed as a difciple with Cornelius de 
 Vos j with whom he continued for fome years, and proved extremely happy in his tafte of 
 defign and colouring. His reputation fpread through moft of the Courts of Europe, and 
 procured him employment from the King of Spain, the Cardinal Infant, the Arch-Duke 
 Leopold, and feveral other Princes; who expreffed the greateft approbation of his works, 
 and beftowed on him fuch marks of their favour, as were juftly merited by his 
 extraordinary abilities. 
 
 His compofition is in a mafterly ftyle; his figures are well defigned, and well grouped; 
 and there appears a judicious variety in the attitudes. His back-grounds are much 
 jenriched, efpecially when he introduces architecture; and his manner of painting is broad, 
 
 Y 2 eafy, 
 
COS 
 
 [ 160 ] 
 
 e o u 
 
 eafy, and free. His drawing is generally correal, and his colouring good, except that it 
 fbmetimes partakes too much of a yellowifli tint ; but that is not a defeat obfervable in 
 all his performances. 
 
 At Mechlin is to be feen a noble defign of this mafter's hand, of which the fubject is, 
 the Paflion of our Saviour; and Houbraken allures us, that this work alone is fufficient to 
 eftablifh the reputation of Cofiers. He was appointed Dire£tor of die Academy at 
 Antwerp, in 1639. 
 
 PlETRO DA CO SI MO. 
 
 Painted Hiftory^ Portraits^ and Bacchanals* 
 
 DIED 1 52I, AGED 8o. 
 
 He was born at Florence, in 1441, and was a difciple of Cofimo Rofelli ; but, as he 
 had a fprightly imagination, and a ftudious attention to the art, he foon became a far better 
 painter than his mafter. 
 
 Rofelli being invited to Rome, to paint one of the Pope's chapels, was attended thither 
 by his difciple, who aflifted him in the work; and in that undertaking Pietro gave fuch 
 proofs of his fkiil, that he. was employed in the Vatican for fome years, and fo effectually 
 recommended himfelf to the favour of the Pope, and the principal Nobility, that he painted 
 for them a great number of hiftorical defigns, as well as portraits. He had the honour to. 
 inftruiSr. many difciples, who were afterwards very eminent in the profeffion; among whom 
 Andrea del Sarto, and Francifco da San Gallo,. were of the greateft note; but, as he 
 advanced in life, he grew whimfical, altered his ftyle of defign, and, for the moil part, 
 delighted to paint fantaftical fubje&s, fuch as harpies, fatyrs, and monfters; and was. 
 particularly fond of painting bacchanals.. 
 
 Wiuiam COURTOIS,. or Cortesi. 
 
 Painted Hijlory, 
 
 DIED 1679, AGED 51. 
 
 He was Born in Franche-Comte, in 1628, the brother of Giacomo Cortefi, called; 
 Bourgognone; and having learned- the rudiments of the art from his father, he travelled 
 with his brother to Rome, and entered himfelf as a difciple in the fchool of Pietro da 
 Cortona. Under that mafter he obtained a commendable tafte of defign and colouring^, 
 which enabled him to make a confiderable figure in his profeffion; and afterwards he 
 became the difciple of Claude Lorraine, in whofe landfcapes he very frequently inferted 
 the figures.. 
 
 Few artifts compofed hiftorical fubjects in a more agreeable ftyle; and the. Nobility of 
 Rome furnifhed him with perpetual opportunities for exerting his talents,, by employing 
 his pencil inceflantly, for the ornament of their palaces; as did alfo the ecclefiaftics, in 
 adorning their churches and convents. By order of Pope Alexander VII. he painted in the 
 
 5 gallery 
 
C O V 
 
 [ 161 ] 
 
 COX 
 
 gallery of his palace in Monte Cavallo, the Battle of Jofhua, which afforded the Pope fa 
 much fatisfa£Hon, that he prefented him with a chain of gold, and a medal, as a mark of 
 his particular efteem. 
 
 He frequently aflifted his brother Bourgognone in his large defignsj and by the 
 recommendation of his mafter Cortona, he was appointed to paint feveral noble defigns in 
 the church of St. Mark, at Venice, which he executed, highly to his honour. 
 
 His tafte of defign was very good ; he was generally correct in his drawing ; and his 
 manner of compofing, colouring, and handling, was fo well approved by the ableft 
 fudges, that he obtained the character of being an excellent painter, and died poflefled of 
 confiderable riches, honourably acquired by his merit. 
 
 Reiner C O V Y N. 
 
 Painted Still Life., and Conversations. 
 
 This painter was born in Brabant, and ftudied after nature, His ufual fubjects were 
 herbs, plants, and different kinds of vegetables j. and fometimes he painted market- 
 women, with bafkets of eggs, fruit, or dead fowl. 
 
 He alfo reprefented, in fome of his compofitions, girls fewing, or bufy about domeftic 
 employments, and likewife converfations. 
 
 Israel COVYN. 
 
 Painted Hi/lory and Portrait*, 
 
 He alfo was a Brabanter, and brother to Reinier Covyn ; but employed his pencil in? 
 fubje£ts very different from thofe of his brother. His moft ufual ftyle was hiftory, 
 though frequently he painted portraits ; but it is remarked of him, that his early defigns v 
 and portraits, were by many degrees fuperior to thofe which he finifhed in his more 
 advanced age. 
 
 COUWENBERCH. Vid. Van Thielen. 
 
 gh Michael COXIS. 
 
 Painted Hijlory and Portrait*. 
 
 DIED 1592, AGED 95. 
 
 He was born at Mechlin, in 1497, and received the firft notions of painting, when he- 
 was very young, from Bernard Van Orlay, of Bruffels j but, quitting his own country, 
 he travelled to Rome, and there had the good fortune to become a difciple of RaphaeL 
 He ftudied and worked under the direction of that fuperior genius, for feveral years.; 
 and in that fchool acquired the tafte of delign and colouring peculiar to his mafter, as 
 alfo the power of imitating his exquifite manner fo far, as to be qualified to defign his 
 own female figures with a great deal of grace and elegance. 
 
 Undoubtedly 
 
COY 
 
 C 162 ] 
 
 COY 
 
 Undoubtedly he had no great Invention, nor did he poflefs a livelinefs of imagination; 
 and therefore, when he left Rome, to return to his native country, he took care to carry 
 along with him a confiderable number of the defigns of Raphael, and other eminent 
 mafters of Italy, which he did not fcruple to make ufe of afterwards in his own 
 compofitions. By that means he gained reputation, and his pictures were wonderfully- 
 admired through the Low Countries. 
 
 But, when Jerom Cock returned from Rome, and brought with him into Flanders, 
 the School of Athens, defigned by Raphael, and other" defigns of the moft famous 
 Italian artifts, they were no fooner made public, than the plagiarifm of Coxis was 
 difcovered, and his reputation proportionably decreafed. 
 
 In the church of St. Gudule at Bruflels, there is a Laft Supper painted by Coxis, 
 which is much commended; and in the church of Notre Dame, at Antwerp, a St. 
 Sebaftian, a Crucifixion, and feveral portraits, which are fine imitations of nature, 
 and the expreflion in all of them is excellent. And in' the chapel of St. Luke, at 
 Mechlin, he painted two folding doors, intended to cover an altar-piece, which were 
 fo greatly efteemed, that the Arch-duke Matthias purchafed them at a very large price, 
 and carried them out of the Low Countries. 
 
 Anthony COYPEL. 
 Painted Hijlory and Allegorical Subjects. 
 
 DIED 1722, AGED 6l. 
 
 He was born at Paris, in 1661, and at firft was inftructed by his father, who, beiag 
 appointed Director of the French Academy at Rome, took his fon along with him, to 
 give him an opportunity of improving himfelf there, by ftudying after the beft models : 
 and during his continuance in that city, he defigned after the antiques, after the works 
 of Buonaroti, Raphael, and the Caracci ; and acquired a noble tafte and manner, which, 
 as he advanced in age and experience, was ftill farther improved. 
 
 After three years practice at Rome, he was advifed by his friends to trarel to 
 Lombardy; and, among the moft famous painters whofe works occurred to him, he 
 preferably chofe to copy thofe of Correggio, Titian, and Paolo Veronefe ; and having 
 fufficiently indulged his genius, he returned to Paris, very well qualified to appear as a 
 profeffed mafter, although at that time not above eighteen years of age. He foon found 
 employment, and diftinguifhed himfelf more and more by every public performance ; and 
 the Duke of Orleans honoured him fo far as to appoint him his principal painter. 
 
 He received fo many proofs of efteem from the King, the Dauphin, and the Princes 
 of the Blood, that he was feldom difengaged from the fervice of one or the other; and, 
 as a public teftimony of his merit, he was appointed by the King director of all his 
 paintings, with a large penfion, and was alfo elected director of the academy. 
 
 But, although this artift had, confeffedly, great talents, and an abundance of merit, 
 in feveral parts of his art; yet, even in his beft works, he left juft room for the 
 
 cenfurc 
 
COY 
 
 C 163 3 
 
 c o z 
 
 cenfure of judicious critics. He was, during his whole life, perfecuted by thofe who 
 envied his fuccefs, being themfelves far inferior to him in defert, which gave him 
 perpetual difquiet ; but, as his patrons were fteady and generous, he never fuffered from 
 the malignity of his defamers. 
 
 There is a great deal of fpirit in his compofitions, and generally an agreeable expremon ; 
 the turn of his figures is frequently elegant ; but he rarely can diveft himfelf of the 
 French gout. His ftyle is fo well known by the prints which have been publimed from 
 his works, that it feems unneceffary to be more particular. However, he certainly is 
 not fo much idolized by others, as he is by thofe of his own country, who dwell on his 
 perfections, and feem quite infenfible of his defects, though it muft be confeffed, that he 
 ufually gives agreeable airs to his heads, and his boys are remarkably well defigned. 
 
 Two of his performances are particularly commended : the meeting of Jephtha and 
 his daughter, and a Crucifixion) which were applauded by the beft judges, and celebrated 
 by the poets of that time. 
 
 Noel Nicholas C O Y P E L. 
 
 Painted Hiftory and Portrait. 
 
 DIED 1737, AGED 45. 
 
 This painter, who was brother to Anthony Coypel, was born at Paris in 1692, and 
 learned the rudiments of the art from his father j and he took pains to improve himfelf, by 
 ftudying fuch defigns of the beft mafters, either in ftatuary or painting, as were open to 
 his obfervation, till he feveral times obtained the prize in the academy. 
 
 He had an apt genius, a ready invention, and a free manner of handling ; in his tafte 
 of defign he fhewed a confiderable degree of correctnefs and elegance ; and, as well as 
 his brother, he gave an agreeable air to the heads of his figures. He painted portraits 
 in oil, and with crayons ; and, in the latter particularly, exprefled all the tendernefs of 
 flefh, with abundance of truth, fpirit, and nature. 
 
 The principal work of this mafter is in the chapel of the Virgin, belonging to the 
 church of St. Saviour, at Paris. 
 
 Francesco COZZA. 
 Painted Hijlory. 
 died 1664. 
 
 He was born at Palermo in Sicily, where he was inftru&ed in the firft principles of 
 the art of painting ; and to accomplifh himfelf in the profeffion, he went to Rome, where 
 he was admitted as a difciple in the fchool of Domenichino. 
 
 Under that eminent mafter he continued for feveral years, and conceived fo juft an 
 opinion of the merit of his director, that he constantly endeavoured to imitate his manner 
 and ftyle, and his endeavours were attended with fuccefs. 
 
 At Rome he was employed in a great number of grand works, in frefco as well as in 
 oil, which were an honour to his inftructor, as well as to himfelf. 
 
 CRAB- 
 
CR A 
 
 [ i*4 3 
 
 CRA 
 
 • CRABBETJE. Vid. Asselyn. \ 
 
 i .... j 
 
 Dirk and Wouter CRABETH. 
 Painted Hijiory on Glafs. 
 
 Thcfe brothers were Incomparable painters on glafs. By fome writers they are 
 accounted natives of France, and by others natives of Germany ; but it appears certain 
 that they were born at Gouda in Holland. Wouter is faid to have viiited France and 
 Italy i and by all judges he is allowed fuperior to his brother in drawing, and in the 
 tranfparence and brilliancy of his colouring. 
 
 The work of Dirk had greater ftrength in the tints, and, by his bold and ftrong 
 manner, he produced an effect equal to the clearnefs and delicacy of the other. Both 
 were very great mafters, as well in large as in fmall v and they wrought with incredible 
 freedom. The moft beautiful work of thofe aflbciated artifts, and perhaps the moft 
 beautiful of its kind in Europe, was painted by them in 1567, at Gouda, in the great 
 church. The fubject is, Chrift driving the buyers and fellers out of the Temple j and 
 whether one confiders the compofition, the attitudes of the figures, or the luftre of the 
 colours, it is an admirable performance. 
 
 It is very remarkable, that though thofe artifts lived in the moft clofe connexion and 
 apparent friendfhip, they were fo cautious of having their fecret difcovered, or perhaps 
 were fo jealous of each other, that one brother would not fuffer the other to fee him 
 at work j and Wouter even covered up his work, as foon as Dirk came into the apart- 
 ment where he painted. 
 
 N. CRAMER. 
 
 Painted Portraits and Converfations. 
 
 DIED I7IO, AGED 40. 
 
 He was born at Leyden, in 1670, and at firft was a difciple of William Mieris, though 
 he afterwards placed himfelf with Karel de Moor, whofe ftyle of defign, and manner of 
 colouring, he followed as long as he lived. 
 
 A moft uncommon affection always fubfifted between De Moor and his difciple ; nor 
 was there a ftronger refemblance in their manner of painting, than in their tempers and 
 ^3ifpofitions. His fubjects were portraits in fmall, and converfations j which were 
 beautifully coloured, and finifhed in a delicate manner. He had a good tafte of defign, 
 and a judicious difpofition of the figures in his compofitions j and his portraits had great 
 /orce, having alfo a great refemblance of nature. 
 
 Cramer had extraordinary talents, but a weakly habit of bodyj and died much regretted, 
 as he was defervedly admired. 
 
 Luca 
 
C R A 
 
 [ 165 3 
 
 CRA 
 
 Luca CRANIUS, or Kranach the Old. 
 
 Painted Hi/lory and Portrait. 
 
 DIED 1553, AGED 83. 
 
 He was born at Kranach, a town in the bifhopric of Bamberg, in 1470, and in his 
 time was accounted a confiderable artift. The reputation of his extraordinary merit 
 recommended him to the favour of the Elector of Saxony, who employed him for feveral 
 years in his fervice ; and the greateft, as alfo the beft part of the works of this mafter, 
 are preferved in the palace of that Prince. 
 
 For the moft part he painted portraits and figures at half length ; though he frequently 
 painted hiftorical and poetical fubjedts. He was remarkably fond of painting the heads 
 of old men and women; and the draperies of his figures, in all his compofitions, were 
 imitated from the modes of the time. The Elector and his whole Court careffed him 
 exceedingly, and very liberally rewarded him for his labours. 
 
 Sandrart fays thatCranius defigned with grace and elegance; of which, however, there 
 is very little or no appearance, in the general number of the paintings of that mafter, 
 whofe works, in thefe kingdoms, are fufficiently common. His manner of defigning 
 was entirely gothic, as his compofition was irregular ; and although he feems to have 
 laboured the heads of his figures with greater care, yet the hands and extremities are 
 ftiff, and often very incorrectly drawn, as well as badly proportioned. Yet this mafter 
 is not without his modern' admirers, who perhaps imagine that the antiquity of a painting 
 compenfates for any deficiency of tafte, grace, or correctnefs. 
 
 The moft capital performance of Cranius, is a naked Lucretia, as large as life, in an 
 erect pofture, which is preferved with great care, and highly valued. 
 
 Luca CRANIUS, the Younger. 
 Painted Hijiory. 
 
 DIED 1586, AGED 76. 
 
 This artift, who was the fon of old Cranius, was born at Wittemberg, in 1510 ; and 
 being thoroughly inftructed by his father, he painted in the very fame ftyle and manner, 
 as well in refpect of his tafte in compofition and defign, as in colouring and handling. 
 
 Joseph Van CRA AS BECK, or Craesbeke. 
 Painted Converfations and Drolls. 
 
 DIED l668, AGED 60. 
 
 He was born at Bruffels, in 1608, and was by trade a baker ; but, by having a fecial 
 intimacy with Brouwer, he learned the art of painting from him. He had a ftrong 
 
 Z natural 
 
C R A 
 
 r 166 j 
 
 CRA 
 
 natural genius; and by obferving the method of Brouwer 's drawing and managing the 
 pencil, he made conliderable advances ; which being noticed by the able artift, he gave 
 Craafbeck every necelfary inftruclion, and foon perceived in his companion, an exacl: 
 imitator of himfelf. 
 
 His invention was very lively, but his fubjedh were mean, low, fordid, and often 
 unchafte ; yet his touch was delicate, and his colouring clean and tranfparent; though he 
 was Hill inferior to Brouwer, as well in penciling as colouring. His general fubjects 
 were, taverns, inns, corps de garde, and drunken quarrels, which were full of humour 
 and droll expremon, always taken from nature. 
 
 One of his raoft capital defigns, is a reprefentation of fome boors drunk, and fightings 
 the tables, chairs, pots, men, women, and children, tumbled together, and one of the 
 combatants ftretched out as dead. This picture is of Craafbeck's beft time, and is 
 entirely in the manner of Brouwer. 
 
 Houbraken mentions a droll incident of this painter, who refembled Brouwer in his 
 morals and extravagancies, as well as in his pencil. Craafbeck took it into his head to 
 be jealous of his wife, who was a modeft and agreeable woman ; and as he was in fome 
 doubt of her affection, in order to enable him to j udge certainly whether fhe really loved 
 him, he one day ftripped his breaft naked, and painted the appearance of a mortal wound 
 on his fkin; his lips and cheeks he painted of a livid colour, and on his palette, near him, 
 he placed his knife, painted on the blade with a blood-like colour. • 
 
 When every thing was prepared, he roared out, as if he had been killed that inftant, 
 and lay ftill. His wife ran in, faw him in that terrifying condition, and fhewed fo many 
 tokens of unaffe&ed, natural paflion, and real grief, that he rofe up, convinced of her 
 afFe&ion, difluaded her from grieving, and freely told he. his motive for the whole 
 contrivance. 
 
 He very often ftudied variety of grimaces before a glafs, and frequently painted his 
 own portrait, with a patch on one eye, and a countenance full of grimace, particularly 
 about the mouth. 
 
 Caspar de CRAYER. 
 Painted Hijlory and Portraits. 
 
 * DIED 1669, AGED 84. 
 
 He was born at Antwerp, in 1585, and was a difciple of Raphael Coxis, the fon of 
 that Coxis who had ftudied under Raphael ; but he foon fhewed fuch proofs of genius, 
 and of an elevated capacity, that he far furpafled his mafter, and therefore quitted him. 
 
 Afterwards 
 
 * The Chronological Tables of the eminent painters fix the death of Crayer in the year 1638, at the age of 53, which 
 feems manifeftly wrong} for all authors agree that he lived above fourfcore yearsj and one writer particularly mentions 
 the laft pi&ure painted by Crayer, which was finiflied in the year 1668, and placed in the Dominicans chapel at Ghent, 
 where that artift is interred. 
 
C R E 
 
 [ 167 ] 
 
 CRE 
 
 Afterwards he made judicious obfervations on the particular excellencies of the mod 
 renowned matters to which he had any accefs ; and taking nature for his conftant director 
 and guide, he formed for himfelf a manner that was exceedingly pleafing. 
 
 The firft work which eftabliflied him in the favour of the Court at Bruffels, was a 
 portrait of Cardinal Ferdinand, brother to the King of Spain, which he painted at full 
 length, and as large as life. In that picture he fucceeded fo happily, that it was fent to 
 Madrid, and received there with fuch concurrent approbation of the King and the whole 
 Court, that it laid the foundation of the fame and fortune of Crayer. For the King, as 
 an acknowledgment of the painter's merit, fent him a gold chain with a medal ; and 
 added, as a farther inftance of his favour, an appointment for a confiderable penfion. 
 
 But nothing can certainly place the talents of Crayer in a ftronger light, than the 
 teftimony of fo excellent an artift as Rubens. That great man went to Antwerp, 
 particularly to vifit Crayer, and to fee his work ; and after examining attentively a picture 
 of his painting, in the refectory of the abbey of Affleghem, he publicly declared that no 
 painter could furpafs Crayer. Nor was this mafter lefs diftinguifhed by Vandyck, who 
 always exprefled a real efteem and friendftiip for him, and painted his portrait. 
 
 He had fomewhat lefs fire in his compofitions than Rubens, but his defign is frequently 
 more correct. His compofition generally confifted of a fmall number of figures ; and 
 with difcreet judgment, he avoided the encumbering his defign with fuperfluous parti- 
 culars, or loading his fubjedt with any thing that feemed not to contribute to its elegance 
 or probability. He grouped his figures with fingular fldll, and his expreffions have all 
 the truth of nature. There is a remarkable variety in his draperies, and an equal degree 
 of fimplicity in their folds j and as to his colouring, it is admirable. Of all his cotem- 
 porary painters, he was accounted to approach neareft to Vandyck, not only in hiftory 
 but in portrait. 
 
 He principally painted religious fubjects, and was continually at work j and, although 
 he lived to a great age, yet his temperance and conftant regularity preferved to him the 
 full ufe of all his faculties j and to the laft month of his life, his pencil retained the fame 
 force and freedom which it pofTefTed in his moft vigorous time. 
 
 The fubjedt of that picture, which was fo honoured by the approbation of Rubens, is 
 the Centurion alighting from his horfe, to proftrate himfelf at the feet of our Saviour. 
 It is a capital defign of Crayer ; and although it confifts of a great number of figures, the 
 harmony and union are well preferved. 
 
 Lorenzo di CREDL 
 Painted Hijiory and Portrait. 
 
 DIED 153O, AGED 78. 
 
 He was born at Florence, in 1452, and was a difciple of Andrea Verocchio, at the 
 fame time that Pietro Perugino and Lionardo da Vinci ftudied in the fchool of that mafter. 
 
 Z 2 As 
 
C R E 
 
 C 168 J 
 
 C RE 
 
 As he 'had perpetual opportunities of obferving that grandeur of ftyle which appeared in 
 the compofitions of Lionardo, and that exquifite manner of penciling which far furpafled 
 his inftru&or Verocchio, he gave himfelf up entirely to imitate Vinci, in his tafte of defign, 
 in his handling, and in the management of his colours. 
 
 To the aftoniftunent of the connoifl'eurs of that age, he copied the paintings of that 
 eminent genius with fuch critical exadtnefs, fuch a furprifing fimilarity of colour and 
 freedom of touch, that it feemed almoft impofiible, even at that time, for the rnoft able judges 
 to determine which were the copies and which the originals. 
 
 He rofe at laft into high reputation, and painted a great number of his own defigns at 
 Florence, by which he was enriched ; and he had the difcretion to fpend the latter part of 
 his life in a comfortable retirement, difengaged from the fatigue of his profeflion. 
 
 CREPU. 
 
 Painted Flowers and Fruit, 
 
 He was born about the year 1660, and was a Fleming, who without any inftrudlor, 
 and only ftudying after nature, arrived at a great degree of merit in flower-painting. 
 
 He originally was bred to a military profeflion, and had the poft of a lieutenant in the 
 Spanifh troops ; but, while he was encamped, or in garrifon, he amufed himfelf by 
 defigning after nature fuch objects as were agreeable to his fancy. He did not quit the 
 army till he was forty years old, and then eftabliflied himfelf at Antwerp, where he began 
 to pradlife painting for a maintenance. His works were very foon noticed by the artifts, 
 many of whom were profufe in his commendation, and could not but acknowledge his 
 fuperiority in many refpe&s. His pictures were much fought for ; they brought con- 
 fiderable prices, and were carried to every part of Europe. After fome years he fettled 
 at BrufTels, where he continued to work till the time of his death. 
 
 He was a good painter of thofe kind of objects which he delighted to reprefent, though 
 he could not juftly be ranked with Van Huyfum, Mignion, Baptift, or De Heem j but 
 his compofition was pleafing, and his flowers were light, tender, and natural, which 
 conftituted their greater! merit. 
 
 D AN IE LL O CRESPI. 
 
 Painted Hi/lory and Portrait. 
 
 DIED 163O, AGED 38. 
 
 This artift was born at Bologna, in 1592, and at firft was a difciple of Giovanni 
 Battifta Crefpi, though he afterwards fludied under Julius Caefar Procaccini. 
 
 The grace and the variety obfervable in the airs of his heads, and the propriety of 
 
 action and character which he gave to his figures, accompanied with a beautiful tone of 
 
 colour, foon raifed him to the higheft efteemj procured him the favour of the great, and 
 
 fo much employment in frefco-painting as well as in oil, that he was not only made very 
 
 rich, but his reputation alfo was rendered very extenfive. 
 
 2 He 
 
>CRE 
 
 [ 169 ] 
 
 e r e 
 
 : He painted portraits in an admirable ftyle, fuperior to. moft of his cotemporaries ; and 
 had the fkilful power to give fo true and fo lively an expreffion to every one of them, 
 that they feemed to think. He died of the plague, extremely lamented ; and with him 
 died his whole family, of the fame fatal diftemper. 
 
 In the church of the Chartreux, at Pavia, are feveral charming paintings by Crefpi ; 
 Chrift among the Doctors j the Prefentation in the Temple ; the Adoration of the Magij 
 the Baptifm of Chrift ; and the Preaching of St. John ; which are all excellent perfor- 
 mances. And at Wilton there is a picture painted by this mafter, reprefenting the Virgin. 
 encircled with flowers, with. Chrift leaning on her bofom. 
 
 Giuseppe Maria CRESPI. 
 Painted Hi/lory and Portrait. ' 
 
 DIED 1747) AGED 82. 
 
 He was born at Bologna, in 1 665, and received his earlieft inftrudHon in defign from 
 Angelo Toni, a very moderate artift; but in a fhort time he quitted that fchool, and 
 fucceflively ftudied under Domenico Canuti, Carlo Cignani, and Giovanni Antonio 
 Burrini. Having obtained great improvement, from the precepts and example of the 
 latter eminent mafters, he applied himfelf induftrioufly to ftudy the works of Baroccio, 
 in order to habituate himfelf to the imitation of that painter's ftyle. He found all the 
 advantage he could hope, from the obfervations he made on the works of that diftinguifhed 
 artift ; and he promoted his knowledge ftill farther, by defigning after the naked in the 
 academy, and afterwards ftudying the principles of colouring at Venice, from the paintings 
 of Titian, Tintoretto, and Paolo Veronefe. 
 
 Thus qualified to appear with credit in his profeflion, his merit was made known to 
 the Grand Duke Ferdinand, who immediately engaged him in feveral noble compofitions, 
 which he executed with fuccefs; affording that Prince the higheft fatis faction, and likewife 
 gaining the applaufe of the public. The Duke made him magnificent prefents, diftin- 
 guifhed him with his protection and favour, and honoured him with the title of his own 
 painter. 
 
 In portrait he was particularly excellent j and to thofe fubjeclrs he gave elegant attitudes, 
 with a ftrong and graceful refemblance. The moft illuftrious perfons for learning and 
 nobility among the men, and the moft celebrated ladies for birth or beauty among the 
 women, or who were admired performers on the ftage, were his ufual fubjecls, and were 
 were rendered ftill more admired by his pencil. 
 
 His imagination was lively, and often whimfical; he was very famous for caricatures ; 
 and frequently amufed himfelf with defigning comic and burlefque fancies, which he 
 expreflcd with abundance of humour and drollery. Sometimes he etched thofe defigns with 
 aqua fortis, felecling his fubjects from the writings of the facetious and burbfque poets. 
 
 He was remarkably fingular, in accuftoming himfelf to paint in a chamber properly 
 darkened, and fo contrived, as to admit a ray of the fun, or the light of a flambeau, to 
 
 enable 
 
CRE 
 
 t 17° 3 
 
 C R O 
 
 enable him to give a greater roundnefs and relief to his paintings, by a nice obfervation 
 of the force of natural light and fhadow. His tafte of deiign was elegant and graceful j 
 and his colouring had a degree of force that was very ftriking, and very extraordinary. 
 
 Domenico CREST I, called Cavalier Passignano. 
 Painted Hijlory and Portrait, 
 
 DIED 1638, AGED 80. 
 
 This painter, accounted one of the beft matters of his time, was born at a village in 
 the neighbourhood of Florence, called Paflignano, in 1558 (though his birth, in the 
 Chronological Tables, is erroneoufly fixed in 1585); and he received the name of 
 Paflignano, from the place of his nativity. 
 
 At firft he was inftructed in the art by Macchietti, and afterwards by Battifta Naldini; 
 but at Florence he become a difciple of Frederick Zucchero, and painted feveral works in 
 conjunction with that mafter, which eftablifhed his reputation. He had very uncommon 
 and great abilities ; a fruitful invention, a noble tafte for grand compofitions, a competent 
 fkill to introduce a multitude of figures in his defigns, and an accurate judgment to 
 difpofe them with elegance. Yet he was not without his defects j for he frequently 
 painted with too thin and fluid a body of colour, which prevented his pictures from 
 having a proper degree of force; and being impatient, when his pencil did not immediately 
 produce the effect which the vivacity of his imagination fuggefted to him, it difcompofed 
 his mind, and difordered his work. 
 
 He was alfo cenfured by very able judges in the art, for not adorning or enriching his 
 iigures with fuitable draperies, though they were in other refpects excellent, for correctnefs 
 of defign, and for the natural eafy turn of the attitudes. 
 
 Mr. CROSS. 
 
 Painted Hijlory. 
 
 He was an Englifh artift in the reigns of Charles L and II. who was not remarkable 
 for any thing but copying j yet in that point he is faid to have had a great deal of merit. 
 
 It is reported of this painter (though with what degree of truth is uncertain), that 
 being employed by King Charles I. to copy fome of the works of the beft mafters of Italy, 
 and being permitted by the State of Venice to copy a famous Madonna of Raphael, in the 
 church of St. Mark, he executed his commiflion fo happily, that he brought away the 
 original, and left the copy in its ftead. The deception was not immediately difcovered, 
 and the detection was too late to regain it; for, although feveral mefiengers purfued him 
 expeditioufiy, they were all difappointed. 
 
 It is likewife reported, that the Spanifh Ambafiador, in the time of Cromwell's'ufur- 
 pation, bought that picture, and the twelve Cacfars, by Titian, for the King of Spain, 
 who placed them in the Efcurial. 
 
 o Francesco 
 
CUR 
 
 C '7* ] 
 
 C U Y 
 
 Francesco CURRADI. 
 
 Painted Hijlory and Portrait, 
 
 DIED l66o, AGED 90. 
 
 He was born in 1570, and learned the art of painting from Battifta Naldini, under 
 whom he made fo great a proficiency in colouring and defign, that his mafter permitted 
 him to aflift him in fome of his own works ; and being frequently afflicted with the gout, 
 he confided the finifhing of his compofitions to Curradi and Balducci, his difciples, who- 
 executed them with a fpirit and beauty equal to their mafter. The perfons of the beft 
 tafte in painting, allowed Curradi to have a delightful manner, great corre&nefs of defign,, 
 an excellent difpofition of his figures, attitudes full of life and expreffion, and a thorough 
 understanding of the chiaro-fcuro. 
 
 He ftudied the airs of the heads with unufual exa&nefs, and gave a graceful and 
 angelic air to particular figures in his hiftorical compofitions, but particularly to the heads 
 in his defigns from facred hiftory, which were moftly the fubjects he chofe to paint. 
 
 To oblige his friends he often painted portraits, which were admired for the life and 
 nature infufed into them by his pencil, for the roundnefs and relief of his colouring, and 
 alfo for the amiable refemblance of the perfons who fat to him. 
 
 CUYLENBURG. 
 
 Painted Hiftory, Land/cape, and Figures in Caveu 
 
 This artift is by many fuppofed to have been a difciple of Poelemburg, by his tafte of 
 defign, and the ftyle of his compofition ; although neither his age nor his mafter are 
 afcertained by any of the biographical writers that I have feen. His fubjects are, caves 
 with figures, nymphs bathing, bacchanals, or ftories from fabulous hiftory, and fome- 
 times defigns of fancy. 
 
 He ufually painted in a fize much larger than Poelemburg, and wanted that clearnefs of 
 tint, that luftre of colouring, fo remarkable in all the genuine works of that delicate 
 painter. A predominant brown prevails through the whole of Cuylenburg's pictures, 
 and makes an evident difference between the colouring of thofe two mafters. And 
 befides, Cuylenburg is neither fo delicate in his female forms, fo correct in his drawing, 
 fo elegant in his tafte, nor fo neat in his finifhing, as are all the paintings of Poelemburgj 
 nor is he, in general, equal to Vertangen. 
 
 CUYP, Vid. Kuyp.. 
 
DAG 
 
 I J 
 
 DAL 
 
 D. 
 
 , Jacopo D'AGAR. 
 
 Painted Hi/lory and Portrait. 
 
 DIED 1716, AGED 76. 
 
 He was born at Paris, in 1640, and was a difciple of Ferdinand Vouet ; from whom 
 he learned to defign fubjec~ls of hiftory, which he performed with a good deal of credit. 
 But, perhaps confcious that his genius would not enable him to arrive at any high degree 
 of excellence in that ftyle, he applied himfelf to draw and paint portraits after the life, and 
 very foon acquired a great reputation through all Flanders. 
 
 His manner of defigning thofe fubjects was elegant ; he had a pleafing and lively tone 
 of colour ; and his works were admired at moft of the Courts of Europe. But he was 
 particularly invited to the Court of Denmark, where he was received with every mark 
 of refpect, and immediately engaged in the fervice of that Monarch, being alfo employed 
 by the principal Nobility at Copenhagen. The merit of his paintings, and his politenefs 
 of manners, gained him the particular regard of the King, who conferred on him an 
 employment of honour near his own perfon, and appointed him his principal painter; and 
 at the death of his patron, Chriftian V. he was continued in the fame appointments, by the 
 fucceffor Frederick IV. 
 
 As he was defirous to eftablifh his fame in other countries, he felt an eager ambition 
 to vifit London, where he knew the polite arts were as zealoufly cultivated, as the artifts 
 were liberally and generoufly rewarded,- and he obtained permiflion to fpend fome time 
 in that country, whither the merit and character of the artift had arrived before him. 
 His reception amply anfwered his moft fanguine expectations j for the Nobility, and the 
 lovers of the art, kept him conftantly at work j and when he returned to Denmark, he 
 was loaded with riches and honour, and pofleffed an univerfal efteem as 4ong as he 
 lived. 
 
 The portrait of D'Agar, painted by himfelf, is honoured with a place in the gallery of 
 the eminent painters at Florence. 
 
 Dirk DALENS. 
 
 Painted Land/cape. 
 
 DIED l688, AGED 29. 
 
 This mafter was born at Amfterdam, in 1659, and learned the principles of the art 
 from his father William Dalens, a landfcape-painter, who had no great abilities, and who 
 very foon was furpafled by his difciple. 
 
 He 
 
DAN 
 
 f 173 J 
 
 DAN 
 
 In the year 1672 he retired to Hambourg, to avoid the calamities of war, which at that 
 time deiblated his native country; and happening to meet with John Voorhout, who was 
 there at that time, they affociated together, and jointly applied themfelves to ftudy, and to 
 improve themfelves in their profeffion. At his return to Amfterdam, his performances 
 received the approbation of the public, and he would probably have made a very 
 confiderable figure, if he had not been cut off in the very bloom of his years. 
 
 In the collection of the Elector Palatine there is a fine landfcape by this mafter; the 
 fcene is a marfhy ground, on which are reprefented ducks and other fowl, very much in 
 the tafte and manner of Hondekoeter. 
 
 Piet.ro DANDINI. 
 Painted Hi/lory^ Landfcape^ Portrait^ Architecture^ Battles y and Animals. 
 
 DIED 1712, AGED 66. 
 
 He was born at Florence in 1646, and received his firft inftruction in the art of painting 
 from Valerio Spada, who excelled in fmall drawings with a pen. Whilft he was under 
 the care of that artift, he gave fuch evident proofs of a ready genius, that he was then 
 placed as a difciple with his uncle Vicentio Dandini, a mafter of great reputation through 
 all Italy, who had been bred up under Pietro da Cortona. Vincentio foon obferved the 
 clofe application of his pupil, and therefore gave him all poflible afliftance, by directing 
 him to defign after nature, till practice confirmed him in correctnefs ; he alfo encouraged 
 -him to furnifh his mind by reading hiftory; and made, him attend the public lectures on 
 anatomy, that he might be thoroughly acquainted with the ftructure of the human body, 
 and the true fituation and action of every member and mufcle. 
 
 From fo regular and excellent an education, he became an admirable artift; and even 
 his firft productions were applauded for the goodnefs of the defign, and the pleafing tone 
 of his colouring. But, when he had an opportunity to exert his talents, and to difcover 
 the fertility of his invention, and the grandeur of his ideas, in feveral large compolitions 
 which he finifhed, he was ranked among the moft able mafters of his time. 
 
 He travelled through moft of the cities of Italy, ftudying the works of thofe who were 
 moft diftirfguifhed; and refided for a long time at Venice, where he copied the paintings of 
 Titian, Tintoretto, and Paolo Veronefe; and afterwards vifited Parma and Modena, to defign 
 the works of Correggio; omitting no opportunity that might contribute to improve his 
 hand, or his judgment. When he returned to Florence, the Grand Duke Cofmo III. the 
 Grand Duchefs Victoria, and the Prince Ferdinand, kept him perpetually employed, in 
 frefco painting as well as in oil; his fubjects being taken not only from facredor fabulous 
 hiftory, but from his own invention and fancy, which frequently furnifhed him with fuch 
 as were odd and fingular, and efpecially with whimfical caricatures. 
 
 He had a moft extraordinary talent for imitating the ftyle of even the moft celebrated 
 ancient painters of every fchool, particularly Titian, Veronefe, and Tintoretto; and with a 
 force and elegance equal to his fubjects of hiftory, he painted portraits, landfcapes, archi- 
 tecture, flowers, fruit, battles, animals of all kinds, and likewife lea-pieces; proving himfelf 
 
 A a an 
 
BAN [ 174 ] DEL 
 
 an univerfal artift, and excellent in every thing he undertook. He had a refined tafte of 
 defign a beautiful tone of colour, great firmnefs and freedom of pencil, and an unufual 
 mixture of force and fweetnefs, with an agreeable harmony, appeared.in all his compoiitions 5 
 refulting from a judicious ufe of the chiaro-fcuro. 
 He had a fon, 
 
 Oct a vi o D AND INI, 
 
 Who proved not inferior to him in any branch of his profeflion, and was an honour to. 
 his family and his country. 
 
 Cjesare DANDINT. 
 Painted Hijlory. 
 
 He was born at Florence; and was the elder brother, and firft inftructor, of Vincentio 
 Dandini, the uncle of Pietro. This, matter had fucceflively ftudied as a difciple with. 
 Cavalier Curradi, Paflignano, and Chriftofano Allori ;. from whom he acquired a very 
 pleafing manner of defigning and. colouring. He was extremely correct in his drawing, 
 and finimed his pictures highly. Several noble altar-pieces in the churches of Florence 
 are of his hand; and one, which is in the Chapel L'Annonciata, is particularly admired. 
 
 Cavalier DANIELLO. Vid. Daniel Syder. 
 
 Henry DANKER S. 
 Painted Landscapes. 
 
 He was born at the Hague, where he was taught the firft rudiments of painting; but 
 he afterwards travelled to Italy, and ftudied there for fome years. His obferving thofe 
 fcenes with which the face of nature is fo beautifully diverfified in that country, and his. : 
 attention to the works of the beft painters of landfcape, rendered him a good artift in that 
 branch, to which he devoted himfelf entirely. 
 
 King Charles II. of England engaged him to paint views of all the fea-ports in his 
 dominions, and. particularly the profpedts on the coaft of. Wales, as alfo the views of the 
 royal palaces; which commiflion he executed extremely to the fatisfaction of his employer,. 
 He followed his profeflion in London for feveral years, and had good rates for his pi£tures s 
 being efteemed the neateft and beft painter in his way, of that time. 
 
 He had a brother,, named 
 
 John DA.NKEB.Sj, 
 Who was a painter of hiftory, and lived and died at Amfterdam. 
 
 Dirk Van DEL EN, 
 
 Painted Injides of Churches , and Perfpetlive Views. 
 Neither the precife year of the birth or the death of this mafter is mentioned by 
 Houbraken, or other writers; but it is recorded that he was born at Heufden. He was 
 a difciple of Francis Hals, in whofe fchool he praclifed to paint thofe particular fubjects, 
 
 which 
 
DEL 
 
 t *75 J 
 
 DEL 
 
 which were moft efteemed by that matter, fuch as portraits and converfations; and by that 
 means he acquired the (kill to defign figures, with a great deal of fpirit and correctnefs. 
 
 But his predominant inclination directed him to paint architecture and perfpe&ive ; and 
 thofe he ftudied with fo much care, as to make his works admired and coveted through 
 the Low Countries. His fubjects were, the infides of churches filled with figures, grand 
 temples, magnificent faloons and galleries, with people aflembled at concerts of muiic, 
 or feafting, or dancing; and thofe fubjects he finifhed highly; his architecture was in a 
 noble tafte; the figures were well defigned; and they were grouped with a great deal of 
 judgment. 
 
 Several authors mention the performances of this mafter, with large commendation for 
 the goodnefs of his invention, and the neatnefs of his handling. 
 
 Jacob DELFT. 
 Painted Portrait. 
 DIED l66l, AGED 42* 
 
 He was the fon of Willemz Delft, and grandfon of Michael Mirevell, born in 161 9 at 
 Delft. As he had been carefully inftructed by his grandfather, he chofe to paint the fame 
 Subjects for which Michael was fo defervedly efteemed; he acquired a fimilar tafte of defign 
 and colouring, and imitated him fuccefsfully in the management of his pencil; nor can 
 there be a greater encomium given to this mafter, than what is aflerted by the concurrent 
 teftimony of feveral writers, mat he painted portraits with a force and delicacy equal to> 
 Mirevelt. 
 
 Deodato DELMONT. 
 Painted HiJIory. 
 DIED 1634, AGED 53. 
 
 He was born at St. Tron, in 1581, of a good family, who gave him an education fuitable 
 to his fortune; had him inftructed in all the polite languages; and placed him as a difciple 
 with Rubens, to learn defign and colouring. He became the moft intimate and beloved 
 friend of that illuftrious painter, and accompanied him to Italy; and during his continuance 
 at Rome, he ftudied every thing that was curious in painting, ftatuary, or architecture, 
 with fuch accurate care, that he obtained the reputation of being an excellent painter and 
 architect. 
 
 For a long time he was employed at the Court of Newburgh ; and the Duke ennobled 
 him, as a teftimony of his merit. Several excellent paintings by this mafter are preferved 
 in the churches and convents of Italy ; but there are three capital performances of his at 
 Antwerp, which are evident proofs of his extraordinary talents. In the church of Notre 
 Dame is a fine picture of the Transfiguration; in the Jefuits church is another compofition, 
 reprefenting Chrift carrying his Crofs, which is confidered as one of the principal 
 
 A a a • ornaments 
 
D E NT 
 
 r *7* i 
 
 D E N 
 
 ♦rnaments of that edi-fice ;, and in a cloifter, is the Adoration of the Magi, painted for the 
 altar-piece. It is grand in the defign, exquifitely penciled and coloured, and in a free and 
 firm ftyle. In all his fubjects the compofition is elevated, the delign correct, and the 
 colouring and penciling excellent. Rubens himfelf was profufe in his praife, and the 
 approbation of that incomparable judge is fu indent to fecure the approbation of pofterity. 
 
 Balthasa-r DENNER. 
 Fainted Portraits. 
 DIED I747> AGED 62. 
 
 He was born at Hambourg, in 1685, and was inftructed in the principles of the art by 
 the moft noted mafter in Altena; though afterwards he was placed under the direction 
 of another painter at Dantzick; and having,. for fome time, practifed with thofe profeflbrs,. 
 he improved himfelf by copying the belt pictures which could be procured in the latter 
 city, and alfo ftudied diligently after living models. 
 
 When he thought, himfelf qualified to work for the public, he was appointed to paint 
 the portrait of the Duke Chriftian Auguftus, adminiftrator of Holftein-Gottorp, in 
 miniature; and he performed it with fuch fuccefs, that it eftablifhed his credit at that 
 Court; where he painted, in one picture of a large fize, twenty-one portraits of the family 
 of that Prince, and alfo added his own. That picture fo highly pleafed the Czar Peter, 
 that he determined to have it conveyed to Peterfburg, till he was Informed that the Duke 
 would be exceedingly forry to have it carried out of his own country. 
 
 He was principally employed by the Princes of Germany, and the King of Denmark, 
 and he painted many portraits of that Monarch; but at intervals he vifited other countries* 
 and particularly England and Holland, where he was received and refpedted as his merit 
 juftly deferved. As a fpecimen of his abilities, he carried along with him the portrait of 
 an old woman, fo wonderfully painted, that it not only procured him honour and employment 
 in London and the Low Countries," but he refufed five hundred guineas for it. It was 
 purchafed for a greater fum by the Emperor Charles VI. who. was fo careful to preferve 
 it from injuries, that he kept the key of the cabinet where it was repofited; and fome time 
 after procured from Denner the head of an old man, as a companion, for which he gave the 
 fame price. Thofe heads are the moft capital of all his performances. 
 
 This mafter was moft remarkable for finiftiing his portraits in a manner that was- 
 inconceivably neat; his expreffion is natural, nor had he, in his touch or his colouring, any 
 appearance of ftiffhefs, or of the mannerift; but a general union and harmony feemed diffufed 
 through the whole. However, he had no great tafte of compofition;. his draperies are very, 
 indifferent, without any idea of dignity in the difpofition, and without truth in the folds. 
 His manner of defign, except in the heads, was but poor ; and his works cannot by any means 
 be recommended as a model to other artifts. In fome parts he was admirable, but very 
 unequal in others; yet he has painted the portraits of his wife and himfelf, in the manner of 
 Rembrandt, which are fo minutely finiftied, that (if writers may be credited) even the pores 
 of the ikin are vifxble. £ Jacques 
 
DEN 
 
 r 177 i 
 
 Jacques DENYS, 
 Painted Hijlory and Portrait. 
 
 This artift was born at Antwerp in 1645, and was a difciple of Erafmus Quellinus; but 
 went young to Rome and Venice, where he fpent fome years in copying the works of 
 Raphael, Julio Romano, Guido, and Titian, and forming his tafte of defign and colouring 
 from the compofitions of thofe celebrated matters; by which method of conducting his 
 ftudies, his own compofitions mewed all the elegance of the Roman and Venetian fchools. 
 
 The Arch-Duchefs at Mantua, having heard the genius of Denys very greatly com- 
 mended, invited him to her Court, and took him into her fervice ; and not long after, the 
 Duke of Tufcany obtained permiffion for him to vifit Florence, where he painted the 
 portraits of that Prince and his family; nor would the Grand Duke have fuffered him to 
 leave his Court, if Denys had not been under prior engagements to return to Mantua. — 
 However, the Grand Duke expreffed the moft kind concern for parting with him ; he 
 made him many valuable prefents, among which were a rich gold chain and a large medal 
 of gold ; and he honoured Denys with letters patent, declaring his efteem for the talents 
 and perfonal merit of that artift. At his return to Mantua, he finiihed feveral grand _ 
 hiftorical compofitions for his patronefs, and adorned the principal apartments of the palace 
 with fuch works as were fufRcient to rank him among the moft able in his profeffion. 
 
 The Arch-Duchefs wifhed to engage him in other new defigns, in order to detain him 
 longer in her fervice; but the love of his native country prevailed over all other con- 
 fiderations with him, as he had then refided in Italy for fourteen years; and he returned . 
 to Antwerp, loaded with riches and honours. By all the artifts, and lovers of the art, he 
 was received in that city, as in triumph; but he enjoyed that honour only for a fhort 
 time, and died foon after, extremely regretted in every part of Europe, whither his fame 
 had extended. 
 
 The greater} part of his works are in Italy, few of them being to be feen or purchafed 
 in his own country. Yet, at Antwerp is to be feen an Ecce Homo of his painting, which, 
 as well in defign as colouring, is entirely in the ftyle of Vandyck. There is alfo, in the 
 fame city, a portrait moft beautifully coloured, and painted with fo great freedom and force, 
 as if portrait had been his peculiar ftudy and. excellence. In general he was remarkable 
 for great correctnefs of defign; his colouring is bold; and his manner hath abundantly, 
 more of the fchool of Italy, than of that of Flanders. 
 
 Peter Cornelius DERYCK, or Derick. . 
 Painted Portraits^ Landfcapes^ and Cattle, 
 
 DIED 163O3 AGED 62. . 
 
 He was born at Delft, in 1568, and was a difciple of Hubert Jacobs ; and having acquired 
 a good degree of knowledge undex that mailer, he went to Italy, where he ftudied the 
 
 different.. 
 
D E R 
 
 C 178 3 
 
 D E S 
 
 different ftyles of the mofl eminent mafters, and at laft fixed on BafTan as his model. In 
 copying and defigning he fpent fifteen years at Rome, Venice, and other cities of Italy; 
 and painted a great number of pictures in a large as well as in a fmall fize. 
 
 His portraits were very much admired; but thofe pictures which he painted in the 
 manner of BafTan, were commended for the goodnefs of the defign, for the firmnefs and 
 freedom of his touch, and the fpirit of thofe animals which he introduced into his com- 
 pofitions. His peculiar excellence was his imitation of the ftyle, the manner and the tint 
 of colouring of BafTan; and that imitation he performed with fuch exactnefs, that even 
 good judges are frequently deceived by fome of the pictures of Deryck. 
 
 William DERYKE. , 
 Painted Hi/lory. 
 died 1697. 
 
 He was born at Antwerp, and at firft was bred to the trade of a jeweller; but he after- 
 wards applied himfelf to painting, in which he had tolerable fuccefs. 
 
 His manner of defign was not extraordinary; his compofitions were hiflorical fubje£ts, 
 with figures as large as life, and thofe he executed with a full, bold pencil; but, although 
 there was an appearance of merit in Tome particular parts, yet his outline was frequently 
 incorrect, and in refpect of grace, and an agreeable variety, he was very deficient. 
 
 Francis DESPORTES. 
 Painted Animals-, Huntings, Flowers, and Infefls* 
 
 DIED 1743, AGED 82. 
 
 He was born at the village of Champigneul in Champagne in the year 1661, and was a 
 difciple of Nicafius Bernard, whofe manner of painting he ever after Teemed to imitate. 
 
 The fubjects which he generally delighted to paint, were flowers, infects, animals, or 
 reprefentations of the chace; and thofe he defigned and coloured with abundance of truth; 
 his local colours being very good, and the aerial perfpective well managed. 
 
 He moflly was employed in the fervice of Lewis XIV. and for that Monarch, for the 
 Dauphin, and the Duke of Orleans, he painted many pictures, reprefenting the chace of 
 different animals, in which the action and attitudes of the dogs were full of fpirit, nature, 
 and life. 
 
 In the train of the Duke d'Aumont, when he went as ambaflador to England, 
 Defportes arrived in London ; he took with him fome of his paintings, as a fpecimen of 
 his abilities ; and during his continuance in that city, he experienced (as many others of 
 his countrymen have done) the generous encouragement of the Englifh, who purchafed 
 many of his performances, which are fufficient evidences of his merit. 
 
 Jaques 
 
D ? E W 
 
 C 179 ] 
 
 D E W 
 
 J a qu e s D E W I T, 
 Painted Hiftory and Portrait. 
 HE WAS ALIVE IN I744. 
 
 This mafter was born at Amfterdam, in 1695, and fhewed a very early fondnefs for 
 the art ; and, while he was extremely young, learned the nrft principles of drawing and 
 defign from Albert Spiers, a portrait painter ; but, afterwards, he was placed as a 
 difciple with Jacques Van Hal, a painter of hiftory, whofe reputation was confiderable. 
 With that mafter he continued two years ; and then. applied himfelf to ftudy after nature, 
 and likewife td copy fome capital paintings of Rubens and Vandyck, to which he obtained 
 accefs by the intereft of his uncle (a lover of the art,, and a. very curious collector), from 
 which his principal improvement arofe. 
 
 In 1713 he obtained the hxit prize in the academy, for defigning after a living. model 
 and the firft prize for painting hiftory ; and he made himfelf particularly known, by 
 fketching feveral of the cielings in the Jefuits church at Antwerp, which had been 
 originally painted by Rubens and Vandyck, and were very much injured by lightning;, 
 and thofe grand compofitions had been entirely loft to the public, if they had not been 
 thus preferved by the induftrious curiofity of Dewit, in whofe iketches they ftill fubfift. 
 
 He was much folicited to paint portraits, but it was with the utmoft diflike he ever 
 undertook it; as it was not only fo much inferior to hiftorical fubjects, but becaufe 
 fuccefs, in that ft%le, depended greatly on the caprice, vanity, felf-admiration, or ignorance 
 of others; and at laft he totally refufed it, although he received the moft deferved 
 applaufe, for what he had done in that way. He principally painted ceilings, and grand 
 apartments, and in all his compofitions fhewed an elegance of tafte, with a tolerable 
 corre&nefs of defign. 
 
 His moft noted work was for the Burgomafters of Amfterdam in their great council 
 chamber. The fubjecl: which Dewit chofe, was, Mofes appointing the feventy Elders. 
 It was a grand compofition, forty-five feet wide, by nineteen high; and the whole work 
 is a proof of a fine tafte, noble ideas, and a freedom of hand capable of executing the 
 dictates of a lively imagination. Although he had never feen Rome, he had acquired the 
 ftyle of the Italian matters, by ftudying after the fineft defigns of the beft artifts of that, 
 country, which he had collected with great judgment and expence. 
 
 His colouring is extremely good, and his compofitions arepleafing; becaufe they are 
 always ingenious, and in the grand manner; his pencil is free, and his touch full of fpirit 
 and brilliancy ; and a better tafte of defign would have rendered him truly eminent. 
 But his greateft excellence confuted in his imitation of bafs-relief in ftone, wood, or 
 plafter ; which objects he painted with fo much roundnefs as to deceive the eye, by giving 
 them the appearance of real carvings ; and thofe works of his are highly prized in every 
 part of Europe. 
 
 2 He, 
 
DE Y 
 
 C 180 ] 
 
 D E Y 
 
 He defigned boys with a great deal of fkill and tafte, and knew where to introduce 
 them with a good effect, efpecially where he reprefented them: in bafs-relief ; and as he 
 made (ketches for all his paintings, thofe (ketches, although they are flight, are much 
 admired for their freedom and fpirit, and purchafed by perfons of the beft tafte. 
 
 John Baptist van D E Y N U M. 
 
 Painted Portraits in Miniature^ and HiJIory in Water-colours, 
 
 He was born at Antwerp, in .1620, and devoted the early part of his life to an intenfe 
 ftudy and practice of the art of painting ; and at laft became very excellent in his 
 profeflion. 
 
 His fubjects were portrait* in miniature, and alfo hiftory and landfcapea in water- 
 colours; which he executed with furprizing neatnefs, judgment, and tafte. The greateft 
 part of his paintings were purchafed by the Emperor and the King of Spain; and his 
 works were admired for the delicacy of his touch, for the fweetnefs of his colouring, for 
 the exquifite manner in which he finiftied them, and alfo for an elegance in his 
 compofition. 
 
 Lewis DEYSTER. 
 Painted HiJIory. 
 
 DIED I7II, AGED 55. 
 
 This mafter was born at Bruges, in 1656, and was placed as a difciple under the 
 direction of John Maes, a painter of portrait and hiftory ; but he perfected himfelf in 
 the knowledge of the true principles of defign and colouring, by ftudying the antiques, 
 and the beft modern productions at Rome for fix years; and fpending fix years more at 
 Venice, in copying, and curioufly examining, the beautiful compofitions of the Venetian 
 artifts. 
 
 When he returned to his own country, he was of fo retired a difpofition, that he was 
 fcarce known even in his own city, though he had abundant merit, and though his works 
 were at the fame time generally admired. But he was compelled to engage in feveral 
 performances for the public, which introduced him more effectually to the world, and 
 enriched him, while they raifed his reputation. 
 
 At Bruges, he painted two excellent pictures ; the one, Rebecca with Abraham's 
 Servant at the Well ; and the other, Judith and Holophernes. But his moft capital 
 compofitions are, the Death of the Virgin, which is an incomparable performance, not 
 only evidencing the abilities of Deyfter, in refpect of defign, but alfo the great accuracy 
 with which he had ftudied nature ; the other, the Refurrection of Chrift, and the appearing 
 of Chrift to Mary Magdalen, and the other Mary ; in which the figure of our Saviour is 
 accounted no way inferior to Vandyck, either in colouring or defign. 
 
 He compofed in the grand ftyle, and much .in the tafte of the Italian fchool ; he gave a 
 great deal of elegance to the airs of his heads, and to the extremities of his figures; his 
 
 draperies 
 
D E Y 
 
 [ 1S1 1 
 
 D I E 
 
 draperies are loofe and light, fo as to make the naked in the limbs perceptible, and the 
 folds are large and well chofen; his colouring is warm, and the fhadows were only 
 glazed in the finifhing, with a compoiition called fphaltum. 
 
 Anna DEYSTER. 
 Painted Hi/lory.- 
 
 DIED I746, AGED 50. 
 
 She was the daughter and difciple of Lewis, born at Bruges in 1696, and. painted in 
 the ftyle and manner of her father; and fhe imitated his touch and colouring lb exactly 
 in the copies (he made after the works of her father, that few of the moft able judges 
 could determine pofitively, which were the copies, or which the originals. 
 
 Adrian Van D I E S T. 
 Painted Landfcapes and Cattle. 
 
 DIED I7O4, AGED 49. 
 
 He was born at the Hague, in 1655 ; but fpent the greateft part of his life in England, 
 where he gradually rofe into confiderable credit, having been well inftructed by his 
 father, who was a fkilful painter of fea-pieces. 
 
 His tafte of landfcape was formed almoft entirely (as he often declared) by defigning 
 thofe lovely views in the weftern parts of England, and along the coafts. He wanted, 
 however, a great deal of that excellence at which he might have'arrived, had he feen 
 Italy, and been not only converfant with the beautiful fcenery of that country, but with 
 the works of the great mafters, who were eminent in that ftyle which he cultivated. 
 Some of his pictures, finifhed in his beft manner, have great clearnefs and tranfparence 
 in the colouring, and a peculiar tendernefs in the diftancesj they are truly fine in the 
 fkies, have an uncommon freedom in the clouds, and an agreeable harmony through the 
 whole. 
 
 But, as he was often obliged to paint for low prices, there is a great difproportion in 
 the merit of fome of his works, when compared with others. The narrownefs of his 
 circumftances deprefTed his genius, and rendered him unattentive to fame, being folely 
 anxious to provide for his family. Had he been fo happy as to have received a proper 
 degree of encouragement, it is not improbable that he might have approached near to 
 thofe of the firft rank in his profeffion. The figures in his landfcapes were frequently 
 inferted by the younger Adrian Coloni, his brother-in-law. 
 
 Abraham Van DIEPENBEKE. 
 Painted Hijlory. 
 
 DIED 1675, AGED 68. 
 
 This artift was born at Bois-le-duc, in 1607, and was at firft a painter on glafs, in 
 which he was accounted excellent, and even fuperior to any of his time; yet he difcon- 
 
 B b tinued 
 
D I E 
 
 r *8* j 
 
 D I E 
 
 tinued it, on account of a variety of difcouraging accidents that happened to him,, in his 
 preparations for that kind of work. He ftudied for fome time in Italy, and found there 
 good employment as a glafs painter ; but he turned his thoughts entirely to painting in 
 oil ; and, to^ obtain the bell knowledge of colouring, entered himfelf in the fchool of 
 Rubins, where he improved exceedingly, and was confidered as one of the good difciples 
 of that great mafter. However, notwithstanding the opportuity he had of refining his 
 national gout, during his refidence in Italy, it never induced him to alter his original 
 tafte of defign i for all his fubfequent compofitions were too much loaded, and not very 
 correct. 
 
 His invention was fertile, and fliewed genius, and his execution was full offpirit; but 
 it was no inconfiderable prejudice to him, to have been engaged in fuch a number of 
 defigns as were perpetually thrown in his way, and which he was obliged to ftrike out 
 in a hurry, without competent time allowed, for judgment tQ revife, digeft, and correct 
 them. Defigns for title-pages, for thefes, and devotional fubjects, engroffed the greateft 
 part of his time and his labour; or defigns for the decoration of books; of which kind,, 
 that called the Temple of the Mufes afforded him great employment, and added fome 
 honour to the artift, merely as a defigner. 
 
 He has been always ranked among the better difciples of Rubens, and poffefled of more 
 livelinefs of genius than moft of the others. He imitated the manner of his mafter with 
 fuccefs; he coloured well, and gave a great force to his paintings by his fingular fkili 
 in the chiaro-fcuro. 
 
 Abraham DIEPRAAM. 
 Painted Converfations. 
 
 This painter was at fir ft inftructed in the art by Dirk Stoop, the father of Peter 
 Stoop the battle painter ; and, in a few years after, he ftudied under Hendrick Zorg.; 
 but his principal improvement was derived from the precepts of Adrian Brouwer, whofe 
 ftyle of defign, and manner of colouring and handling, he imitated with fo great 
 accuracy, that there is a ftrong refemblance in their productions. But unhappily for 
 himfelf, he imitated his mafter Brouwer, not only in his pencil, but alfo in the diflolute- 
 nefs of his morals;, and by that means his time was unprofitably confumed, his fubftance 
 diffipated, and thofe excellent talents with which nature had liberally endowed him, 
 were incredibly impaired. 
 
 His firft pictures were much efteemed, and fold for a good price; fome of them 
 
 being as tranfparent in their colour, as well defigned, and as freely and neatly handled, 
 
 as many of Brouwer's. But when he gave himfelf up to a vicious and irregular courfe 
 
 of life, his hand forget its former execution, and even his ideas were altered and confufed: 
 
 for which reafon his latter works are accounted but comparatively, mean, and fcarce 
 
 appear to be of the fame hand with thofe of his beft time. His irregularities reduced 
 
 him to great poverty, and he died in an hofpital, though he had abilities which, properly 
 
 exerted, would have rendered him very happy and very famous, 
 
 c William 
 
DOB 
 
 C 183 3 
 
 DOB 
 
 William DOBSON. 
 Painted Portrait and Hi/lory* 
 DIED 1646, AGED 36. 
 
 This admirable painter was born at London, in * 1610, and was apprenticed to one 
 Peak, a ftationer and dealer in pictures. He received indeed fome inftruction from 
 Francis Cleyn; but he owed his principal improvement to his copying a few excellent 
 pictures, procured by his ^matter, particularly fome of Titian and Vandyck ; and the 
 manner of thofe two mafters he in fome meafure always retained. 
 
 By that courfe of ftudy and practice he improved fo remarkably, that a picture of his 
 painting being expofed in the window of a fhop on Snow-hill in London, Vandyck, 
 paffing by, was ftruck with it exceedingly; and inquiring after the author, found him at 
 work in a poor garret. Vandyck foon delivered him from a fituation fo unworthy of his 
 merit, and generoufly furniflied him with every thing requifite for his appearance in a 
 character fuitable to his talents. He afterwards recommended him to King Charles I. 
 who took him into his fervice, kept him at Oxford as long as he himfelf continued there, 
 fat to him often for his portrait, and diftinguifhed him by the name of the Englifli 
 Tintoret. 
 
 It is much to be lamented, that an artift born with fuch happy talents, and fo excellent 
 a genius, mould have wanted thofe advantages in his ftudies, which might probably have 
 raifed him to the higheft excellence. Had he feen Italy, had he even beheld the antiques, 
 and been furniflied with an opportunity of examining, as Vandyck and Rubens had 
 done, the perfections of the illuftrious artifts of Rome and Venice, it is no way impro- 
 bable that Dobfon might have equalled the beft portrait-painters that ever lived, fince, 
 without any of thofe aids, he is only in fome particulars inferior to any of them. 
 
 Undoubtedly he was one of the moft eminent painters of his time, and an equal 
 honour to the art and to his native country. His manner is bold and free, and at the 
 fame time has abundance of fweetnefs, with a charming tone of colour ; and although he 
 was inferior to Vandyck, in the gracefulnefs of his figures, yet he gave life, dignity, and 
 jTentiment, to his portraits j and for truth, character, and refemblance, few have furpafied 
 him. 
 
 At Wilton there is a picture of the Decollation of St. John, by Dobfon, which is in 
 a good ftyle, though the colouring is rather cold : the idea of St. John is faid to be taken 
 from the face of Prince Rupert : and at Blenheim, Northumberland-houfe, and the Duke 
 of Devonfhire's, are feveral very capital pictures of this mafter. 
 
 B b 2 Jacob 
 
 * The author of the Lives of Englifli Painters, at the end of De Piles, fays, he died in 1647, aged 37. The Chrono- 
 logical Tables fix his birth in 1610, and his death in 1649; but the author which I have chofen to follow, fays he 
 Wied in 1646, aged 36. 
 
DOE 
 
 C *»4 J 
 
 DOE 
 
 ' Jacob Vander DOES, the Old. 
 . Painted Land/capes and Animals, 
 
 DIED 1673, AGED 50. 
 
 He was born at Amfterdam, in 1623, and for fome years was the difciple of Nicholas 
 Moyaert \ but in the twenty-firft year of his age he quitted Holland, and travelled to 
 Rome, where he arrived in a very neceftitous condition, and was fupported by the young 
 artifts of the Bentvogel fociety. 
 
 He fpent feveral years at Rome, defigning and painting with inexprefiible application j 
 and at laft adopted the manner of Bamboccio, preferably to the multitude of great mafters 
 whole works he had confideredj and made him the model for his own performances. 
 And it foon became evident, that his choice was judicious, as his future works approached 
 very near to the merit of that great painter. 
 
 He had naturally a great diffidence of his own abilities, and often felt himfelf not 
 pleafed with his work, even after exerting his utmoft pains and induftry ; and frequently 
 he grew melancholy, by imagining that he obferved others arrive at a greater degree of 
 perfection than himfelf. However, when he returned to Holland, he had as much fuccefs 
 as he could defire ; and having married a perfon who pollened a confiderable fortune, he 
 followed with much more pleafure and content. 
 
 His temper, which was morofe and difagreeable, procured him the hatred and contempt 
 of all his acquaintances in Italy j and compelled him to return to his own country. 
 The only friend who did not forfake him was Karel du Jardin, as he alone could endure 
 his difguftful humour. Yet thofe two painters were as oppofite in their ftyle, as they 
 were unlike in their difpofitions : Jardin loved to paint clear and cheerful ; Vander Does 
 was fond of the brown and dark, and his very pictures feemed to partake of the 
 gloominefs of his temper. 
 
 In the compofition of his landfcapes his tafte was noble ; and the fmall figures with 
 which he adorned them, were well defigned, and touched with fpirit \ the animals alfo, 
 which were chiefly fheep or goats, were painted with fuch truth and delicacy, that few 
 artifts have furpaffed him in that point. He perfectly underftood the principles of the 
 chiaro-fcuro, and grouped his figures with judgment and propriety ; but his particular 
 excellence confuted in defigning fheep in a variety of attitudes, with, abundance of 
 correctnefs, and a tint of colour that was true nature* 
 
 It is obferved that his pictures brought higher prices during his life, than they have 
 done fince his deceafe ; though many of them have extraordinary merit, and fome of them 
 are very defervedly much valued,. 
 
 Jacob 
 
DOE 
 
 C 185 ] 
 
 DOE 
 
 *Jacob Vander DOES, the Young. 
 Painted Hijlory. 
 
 DIED 1693, AGED 39. 
 
 He was born at Amfterdam, in 1654, the fon of Jacob, and younger brother of Simon 
 Vander Does. He was at firft a difciple of Karel du Jardin, with whom he continued 
 till that painter went to Rome ; and then he placed himfelf as a difciple with Netfcher, 
 and ftudied under his direction for two years ; but when he quitted him, he fought for 
 additional improvement from the inftruclion of Gerard Lairefle, who at that time was in 
 high reputation at Amfterdam. Under thofe eminent artifts he made fuch a progrefs, as 
 enabled him to afford the public fufflcient proofs of his uncommon talents, and a promife 
 of making fHll higher advances in the art. 
 
 He was extremely ready at defigning, as he had a lively imagination and good invention; 
 but he had a violent impetuous fpirit, which often made him apt to deftroy his compo- 
 fitions, if they failed to pleafe him in the execution. Houbraken: fays, - that when 
 Vander Does had fpent three or four weeks on a picture, and not thoroughly liking 
 it, after fo much labour had been beftowed upon it, though it was admired and com- 
 mended by all who faw it, he cut it to pieces, notwithftanding the interpofition of his 
 brother, who exerted himfelf to diffuade him from deftroying it. However, he finiihed 
 another picture of that very fubj.ee!:, and was fo fuccefsful in the fecond attempt, that 
 Mr. de Graaf, to whom it was prefented, appeared wonderfully ftruck with the beauty 
 of the performance ; made very large prefents to the artift j and recommended him to 
 the favour of Mr. Heemfkirk, AmbafTador from. the States to the King of Frrnce. 
 
 Vander Does was inexpreflibly pleafed at the profpedl of difplaying his talents at Paris ; 
 and it is probable that he might have raifed his fortune and reputation to a high degree, 
 if he had lived to finifti what the fame, of his abilities had engaged the Nobility of that 
 kingdom to befpeak from him.. 
 
 Simon Vander DOES. 
 Painted Landfcapes, Cattle, and Portrait. 
 
 DIED 1717, AGED 64. 
 
 He was born at Amfterdam, in 1653, and learned the art of painting from his father, 
 Jacob Vander Does, who painted landfcapes and cattle ; and Simon chofe the fame fubjects, 
 the fame ftyle, and the very fame manner of painting. He travelled at firft to Frizeland, 
 in order to follow his profefTion in that country ; but he did not receive fufficient encou- 
 ragement to detain him there for any length of time, and therefore determined to vifit 
 England,, where probably his real merit happened not to be known, for he continued 
 there only one year, and returned to the Hague. 
 
 In 
 
 * The authors of the Abrege, &c. are guilty of a great miftake, in applying to Jacob Vander Does th& Old, all the clrcum- 
 A*nces of Vander Does the Young, confounding thofe two artifts with each other. Vid. Defcamps and the Chron. Tab. 
 
DOL 
 
 r 186 ] 
 
 X> L 
 
 In that city he found employment equal to his defire; yet at the fame time he was fa 
 unhappy as to be deprefied in his circumftancesj as well as in his fpirits, by the 
 extravagance of a diflblute wife, who fquandered away all that his moft laborious induftry 
 could procure ; and when fhe died, left him involved in debts and mifery ; though, in all 
 his affliction, he never difcontinued his application to his profeflion. 
 
 On particular occafions he painted portraits, which in the touch and colouring refembled 
 the portraits of the old Netfcher ; and if he had not indulged himfelf in a retired conrfe 
 bf life, that kind of painting would have proved more advantageous to him, than the 
 ufual fubje&s of his pencil. But, although his works were admired, and eagerly bought 
 up, and tranfmitted to moft of the Courts of Europe by the picture-merchants, yet he 
 fell at laft into very great poverty. 
 
 There is fomewhat extremely pleafing in all the pictures of this mafter j and though 
 his figures generally want elegance, and his colouring rather inclines to the yellow and 
 light brown, yet there is fo much correctnefs in his cattle, fo much freedom and eafe in 
 his touch, fuch agreeable diftances, fuch pleafing forms in his trees, fuch tranfparence 
 and delicacy in his colouring, and fuch a look of nature, with the finplicity of rural life 
 in his paftoral fubjects, as muft always render his works eftimabie. 
 
 Some of the paintings of Simon Vander Does have been imported into this kingdom a 
 and were fold for very large prices* 
 
 Carlo, or Carlino DOLCE, 
 Painted Hiftory and Portrait. 
 DIED l686, AGED 70. 
 
 He was born at Florence, in 1616, and was a difciple of Jacopo Vignali. His firfl 
 attempt was a whole figure of St. John, painted when he was only eleven years of age, 
 which received extraordinary approbation j and afterwards he painted the portrait of his 
 mother, which gained him fuch a general applaufe, as placed him in the higheft rank of 
 merit. From that time his new and delicate ftyle procured him great employment in 
 Florence, and other cities of Italy, as much, or even more than he was able to execute. 
 
 This great mafter was particularly fond of painting divine fubjects, although he 
 fometimes painted portraits. His works are eafily diftinguifhed j not fo much by any 
 fuperiority to other renowned artifts in defign or force, as by a peculiar delicacy with 
 which he perfected all his compofitions ; by a pleafing tint of colour, improved by a 
 judicious management of the chiaro-fcuro, which gave his figures a furprifing relief ; by 
 the graceful airs of his heads j and by a general harmony, accompanied with exquifite 
 finifhing. 
 
 His pencil was tender, his touch inexpreflibly neat, and his colouring tranfparent ; 
 though it ought to be obferved, that he has often been cenfured for the exceflive labour 
 beftowed on his pictures, and finifhing them too highly ; and alfo for giving his carnations 
 more of the appearance of ivory than the look of flefh. 
 
 & 
 
 V 
 
DOM r 187 ] DOM 
 
 In his manner of working he was remarkably flow ; and it is reported of him that his 
 brain was affected by having feen Luca Giordano difpatch more bufinefs in four or five 
 hours, than he could have done in fo many months. 
 
 In the Palazzo Corfini, at Florence, there is a picture of St. Sebaftian painted by 
 Carlino Dolce, half figures of the natural fize. It is extremely correct: in the defign, 
 and beautifully coloured; but it is rather too much laboured in regard to the finifhing, 
 and hath fomewhat of the ivory look in the flefli colour. In the Palazzo Ricardi is 
 another picture of his, reprefenting the four Evangelifts ; the figures are as large as life, 
 at half length ; and it is a lovely performance ; nor does there appear in it that exceflive 
 high finifhing for which he as cenfured. The two beft figures are St. Matthew and 
 St. John; but the latter is fuperior to all; it is excellent in the defign, the character 
 admirable, and the whole well executed. There is alfo a fine picture by Carlo Dolce in 
 Pembroke Collection at Wilton, of which the fubjea is the Virgin; is is ornamented, 
 with flowers, and thofe were painted- by Mario da Fiori. 
 
 DOMENICHINO, or Domenico Zampierxv 
 
 Painted Hi/lory and Landfcape* 
 DIED 1 64 1., AGED 60. 
 
 This admired mafter was born at Bologna, in* 1581, and received.his firft inftruction. 
 in the art of painting from Denis Calvart ; but afterwards he became a difciple of the 
 Caracci, and continued in that fchool for a long time. The great talents of Domeni- 
 chino did not unfold themfelves as early in him, r as talents much inferior to his have 
 difclofed themfelves in other painters; he was ftudious, thoughtful, and circumfpect; 
 which by fome writers, as well as by his companions, was mifunder flood, and mifcalled 
 dullnefs. But the intelligent Annibal Caracci, who obferved his faculties with more 
 attention, and knew his abilities better, teftified of Domenichino, that his apparent 
 flownefs of parts at prefent, would in time produce what would be an honour to the art 
 of painting. 
 
 He perfevered in the ftudy of his art with incredible application and attention, and 
 daily made fuch advances, as enabled him at laft to appear in an honourable light, even 
 among the raoft famous artifts that have ever appeared. It is acknowledged by all writers, 
 that his thoughts were judicious from the beginning, and they were afterwards elevated, 
 wanting but little of reaching the fublime ; and whoever will confider the compofition, 
 the defign, and the exprefiion in his Adam and Eve, his Communion of St. Jerom, and 
 in that admirable picture of the Death of St. Agnes at Bologna, will Yeadily perceive 
 that they muft have been the refult of genius, as well as of juft reflections; although 
 Mr. De Piles fays, he is in doubt whether Domenichino had any genius or not. 
 
 That 
 
 * It feems very unaccountable, that De Piles fets down the year of the birth of Domenichino in 155 1, and his death 
 in 1648, and then obferves that he died at 60 years of age ; whereas, according to thofe very dates, he muft have beeiv 
 at his death 97, inltead of 60. 
 
DOM 
 
 t 188 ] 
 
 DOM 
 
 That ingenious writer feems willing to attribute every degree of excellence in 
 Domenichino's performances, to labour, or fatigue, or good fenfe, or any thing but genius j 
 yet how any artift could (according to his own eftimate in the ballance of painters) be on 
 an equality with the Caracci, Nicolo Pouflin, and Lionardo da Vinci, in compofition and 
 defign, and fuperior to them all by fcveral degrees in expreflion, and alfo approach near to 
 the fublime, without having a genius, or even without having an extraordinary good one, 
 feems to me not eafily reconcileable. If the productions of an artift muft always be the 
 beft evidence of his having, or wanting a genius, the compofitions of Domenichino mull: 
 ever afford fufficient proofs in his favour. 
 
 As to correctnefs of defign, expreflion of the paflions, and alfo the fimplicity and variety 
 in the airs of his heads, he is allowed to be little inferior to Raphael; yet his attitudes are 
 but moderate, his draperies rather ftiff, and his pencil heavy. However, as he advanced 
 in years and. experience, he advanced proportionably in merit, and the lateft of his 
 compofitions are his beft. There is undoubtedly in the works of this eminent mafter, 
 what will always claim attention and applaufe, what will for ever maintain his reputation, 
 and place him among the number of the moft excellent in the art of painting. 
 
 One of the chief excellencies of Domenichino confifted in his painting landfcapes; and 
 in that ftyle the beauty arifing from the natural and fimple elegance of his fcenery, his 
 trees, his well broken grounds, and in particular the character and expreflion of his 
 figures, gained him as much public admiration, as any of his other performances. 
 
 The Communion of St. Jerom, and the Adam and Eve, are too well known to need a 
 defcription ; and they are univerfally allowed to be capital works, efpecially in the 
 expreflion. In the Palazzo della Torre, at Naples, there is a picture by Domenichino, 
 reprefenting a Dead Chrift on the knees of the Virgin, attended by Mary Magdalen and 
 others. The compofition of this picture is very good, and the defign fimple and true; the 
 head of the Magdalen is full of expreflion, the character excellent, and the colouring 
 tolerable; but, in other refpects, the penciling is dry, and there is more of coldnefs than 
 of harmony in the tints. But in the church of St. Agnes, at Bologna, is an altar- 
 piece, which is confidered as one of the moft accomplifhed performances of this mafter, 
 and fhews the tafte, judgment, and genius of this great artift in a true light. The 
 fubject is, the Martyrdom of St. Agnes ; and the defign is extremely correct, without 
 any thing of manner. The head of the Saint hath an expreflion of grief, mixed with 
 hope, that is wonderfully noble; and he hath given her a beautiful character. There- 
 are three female figures grouped on the right, which are lovely, with an uncommon 
 elegance in their forms, admirably defigned, and with a tone of colour that is beautiful. 
 Their drefs, and particularly the attire of their heads, is ingenious and fimple; one of this 
 mafter 's excellencies confifting in th-^t part of contrivance. In fhort, it is finely 
 compofed, and unufually well penciled; though the general tone of the colouring partakes 
 a little of the greenifh caft, and the fhadows are rather too dark; yet that darknefs may 
 probably have been occafioned, or increafed, by time. 
 
 2 
 
 John 
 
D O M [ 189 ] DOM 
 
 John DOMENIQUE, 
 Painted Landfcape. 
 
 DIED 1684. 
 
 This painter was a difciple of Claude Lorraine. He lived moftly at Rome, and was 
 xemarkable for his wonderful exactnefs in imitating the ftyle and colouring of his mafter. 
 
 Peter DONCKER. 
 
 Painted Hijiory. 
 
 DIED 1668. 
 
 He was born at Gouda, and was a difciple of Jacques Jordaens, with whom he continued, 
 till by his own induftry, and the direction of fo able a mafter, he made a good.progrefs in 
 the knowledge of colouring and penciling ; but, being delirous to eftablifh himfelf in a 
 better tafte of defign, than he found it poflible to acquire from the Flemifti artifts, he 
 determined to direcl: his courfe to Rome. 
 
 In his tour he viftted Paris, and gladly laid hold of an opportunity which very luckily 
 prefented itfelf to him, of travelling to Italy in the train of the Duke de Crequi; and he 
 refided in Rome for feven years, ftudying after the antiques and the moft celebrated 
 paintings. 
 
 At his return to his own country, his improvement was fo vifible, that it procured him 
 the approbation of the beft judges, and fufficient employment from perfons of the 
 higheft rank. 
 
 John DONCKER. 
 Painted Portrait. 
 
 This painter was born at Gouda, and proved a very excellent artiftj but he died in the 
 flower of his age. 
 
 His great abilities in his profeflion may be judged of by one picture preferved in his 
 native city, in which are feveral portraits of perfons who at that time were in the moft 
 honourable ftations in Gouda j and it is painted with fo great a freedom of pencil, and 
 ftrength of colour, that it looks more like the work of an experienced and accompliftied 
 mafter, than the performance of fo young a j>rofeflbr of the art. 
 
 Lewis DORIGNY. 
 Painted Hijiory. 
 
 DIED I742, AGED 88. 
 
 He was born at Paris, in 1654, and was taught the rudiments of the art by his father 
 Michael Dorigny, till he was ten years of age; but being then deprived of his inftructor, 
 by the death of his parent, he became a difcipla of Le Brun. 
 
 C c .In 
 
DOU 
 
 C ] 
 
 DOU 
 
 In that fchool he made a confiderable progrefs ; but being difappointed in his expectation 
 of obtaining the firft prize at the academy, he travelled to Italy, and ftudied for feveral 
 years at Rome, Venice, and Verona, but chofe the latter for his place of refidence. He is 
 highly commended by the French writers, as having a ready and good genius, lively 
 colouring, and a fpirited pencil; yet they acknowledge that a fketch for a cieling which 
 he produced at Paris, reprefenting the fall of Phaeton, was fo much difcommended by 
 Rigaud, Largilliere, and others, that in great difguft he returned to Verona, where he 
 ended his days. 
 
 His principal work is the dome of the great church at Trent. 
 
 William DOUDYNS, or Dodoens. 
 Painted Hi/iory. 
 
 DIED 1697, AGED 67. 
 
 This mafter was born at the Hague, in 1630, and learned to draw and defign from one 
 Alexander Petit, an inconfiderable artift ; but, as foon as he had acquired a competent 
 degree of fkill, and a tolerable readinefs of hand, to complete his knowledge, he was fent 
 by his relations to Italy. At firft he indulged his inclination to the art, only for an 
 amufement, and not for a profeffion, his family being very rich ; but at laft the love of 
 painting poflefled his mind fo effectually, that he determined to purfue it as a fole 
 employment. 
 
 He continued at Rome for twelve years, copying and defigning fuch works of the beft 
 ancients and moderns, as could moft conduce to his improvement, particularly the ftatues 
 and bas-relieves of the Greek artifts; and by that method of ftudy and practice, he formed 
 a ftyle of compofition which gained him the greateft approbation. It was his wifh to have 
 fpent the remainder of his days in Italy; but the importunity of his family and friends fo 
 far prevailed, that he returned to the Hague. He there met with an honourable reception, 
 was immediately employed in feveral grand works, and appointed director of the academy^ 
 more out of a refpect to his merit, than out of any regard to his fortune or family. 
 
 Doudyns had a grand manner of defigning and compofing his fubjedts ; the correctnefs 
 of his outline in the naked figures is remarkable, and he alfo gave them elegant and 
 delicate forms. His draperies are well caft, broad, light, and natural, and his pencil is 
 free and firm; fo that the ableft judges confidered his pictures as the product of an Italian 
 invention, tafte, and defign. Among many excellent compofitions of this mafter at the 
 Hague, one is exceedingly commended, of which the fubject is the Wifdom of Solomon. 
 
 John Francis DOUVEN. 
 Painted Landfcapes, sfnimals, Portraits, and HiQory. 
 
 DIED I727, AGED 71. 
 
 He was born at Ruremonde, in 1656, and was placed as a difciple with Gabriel 
 Lambertin at Liege, who hadrefided for feveral years at Rome; and after Douven had 
 
 learned 
 
D O U 
 
 C 191 ] 
 
 D O U 
 
 learned defign and colouring under that mafter for three years, he ftudied under the 
 direction of Chriftopher Puitlink, a nephew of Lambertin's, who excelled in landfcape and 
 animals ; from whom he acquired the habit of painting thofe fubjects particularly well. 
 But, he happened to meet with an opportunity of improving himfelf much more, by the 
 favour of Don John de Velafco, fuperintendant of the finances at Ruremorde, for 
 Charles II. King of Spain. That Nobleman poflefied a valuable and curious collection of 
 the works of the beft mafters in Italy, and- he employed Douven for three years, to copy 
 the principal pictures of his cabinet; by which that young painter gained much more 
 judgment, a much finer tafte, a more elegant ftyle of compofition, a better manner of 
 handling, and alfo a great deal of credit. 
 
 It feems probable, that Douven would have entirely purfued the hiftorical ftyle, if he 
 had not been invited to the Court of DulTeldorp, where his firft work was to paint the 
 portraits of the Duke and other noble perfonages. He proved fuccefsful beyond his moft 
 fanguine expectations, which made him abundantly more attentive to that branch of 
 painting ever after. He was only twenty-eight years of age when he was appointed 
 principal painter to that Court. He afterwards attended the Duke to Vienna, where he had 
 the honour to paint the portraits of the Emperor and Emprefs, for which he was amply 
 rewarded, and received a chain of gold and a medal, as a peculiar mark of the Emperor's 
 efteem. He was likewife employed at the Courts of Portugal, Denmark, Modena, and 
 Tufcany ; and at the latter, fo far obtained the favour of the Grand Duke, that he ordered 
 the portrait of Douven, painted by the artift himfelf, to be placed in the gallery of painters ; 
 and, befide other princely gratuities, gave him a rich gold chain and a medal. 
 
 It is remarked of this mafter, that his pictures are well coloured and well penciled ; that 
 they have abundance of force and fpirit, with a ftrong likenefs, and a certain amiable and 
 majeftic air; principally occafioned by his placing the eyes of his figures in fo natural a 
 pofition, and yet with fo much judgment, that they communicated dignity, life, thought, 
 and expreflion to every character. 
 
 Very frequently he painted hiftory in fmall, in which ftyle his compofition is good, his 
 defign correct, and very much in the tafte of the Italian fchool. It is obferved by the 
 authors who have treated of this fubject, that he had the fingular honour to paint after 
 the life three Emperors, and the fame number of Emprefles, five Kings, feven Queens, 
 and a great number of Princes and Princeftes. 
 
 Gerhard DOUW. 
 
 Painted Portraits^ Converfations, and Suhjecls of Fancy. 
 
 DIED 1674, AGED 6l. 
 
 This admirable artift was born at Leyden, in 1613, and received his firft inftrudions 
 in drawing and defign from Bartholomew Dolendo, an engraver, and alfo- from Peter 
 Kouwhoorn, a painter on glafs ; but at the age of fifteen he became' a difciple of Rem- 
 brandt. In that famous fchool he continued for three years, and then found himfelf 
 qualified to ftudy nature, the moft unerring director. 
 
 C c 2 From 
 
d o cr 
 
 t *9 2 3 
 
 D O U 
 
 From Rembrandt he learned the true principles of colouring, and obtained a complete, 
 knowledge of the chiaro-fcuro; but to that knowledge he added a delicacy of pencil, and 
 a patience in working up his colours to the higheft degree of neatnefs, fuperior to any 
 Other mafter. He therefore was more pleafed with thofe pictures of Rembrandt, which 
 were painted in his youth, than thofe by which he was diftinguiftied in his more advanced 
 age; becaufe the firft feemed finifhed with more care and attention, the latter with more . 
 boldnefs, freedom, and negligence, which was quite oppofite to the tafte of Douw. But, 
 although his manner appears fo different from that of his mafter, yet it was to Rembrandt . 
 alone that he owed all that excellence in colouring by which he triumphed over all the 
 artifts of his own country. 
 
 His pictures ufually are of a fmall fize, with figures fo exquifitely touched, fo tran- 
 fparent, fo wonderfully delicate, as to excite afkmifriment as well as pleafure. He 
 defigned every object after nature, and with an exactnefs fo fingular, that each object 
 appears as perfect as nature itfelf in refpedt to colour, frefhnefs, and force. His genera! 
 manner of painting portraits was by the aid of a concave mirror, and fometimes by looking 
 at the object through a frame with many exact fquares of fine filk. But, the latter cuftom 
 is difufed, as the eye of a good artift feems a more competent rule, though the u-fe of the 
 former is ftill practifed by painters in miniature. 
 
 It is almoft incredible what vaft fums have been givea, and are given at this day for 
 the pictures of Douw, even in his own country; as alfo in Italy, and every polite part of. 
 Europe; for he was exceedingly curious in finiftiing them, and patiently afliduous beyond 
 example. Of that patience Sandrart gives a. ftrong proof, in a circumftance which he 
 mentions relative to this artift. He fays, that having once, in company with Bamboccio, 
 vifited Gerhard Douw, they could not forbear to admire the prodigious neatnefs of a 
 picture which he was then painting, in which they took particular notice of a broom 5 
 and expreffing their furprife at the exceffive neatnefs of the finiihing that minute object, 
 Douw told them, he mould fpend three days more in working on that broom, before he 
 fhould account it entirely complete. In a family picture of Mrs. Spiering, the fame 
 author fays, that the lady had fat five days for the finifhing one of her hands that leaned 
 on an arm-chair. For that reafon, not many would fit to him for their portraits; and he 
 therefore indulged himfelf moftly in works of fancy, in which he. could introduce objects 
 of ftill life, and employ as much time on them as fuited his own inclination. Houbraken 
 teftifies, that his great patron Mr. Spiering allowed him a thoufand guilders a year, and 
 paid befide whatever he demanded for his pictures, and purchafed fame of them for their 
 weight in filver; but Sandrart, with more probability, affures us, that the thoufand guilders 
 a year were paid to Gerhard, on no other confideration than that the artift mould give his 
 benefactor the option of every picture he painted, for which he was immediately to receive 
 the utmoft of his demand. 
 
 Douw appears, inconteftably, to be the moft wonderful in his finiftiing of all the 
 Flemifh matters. Every thing that came from his pencil is precious, and his colouring 
 hath exactly the true and the lovely tints of nature; nor do his colours appear tortured, 
 
 nor 
 
DOU 
 
 C 193 I 
 
 DOU 
 
 nor is their vigour lelTened by his patient pencil; for, whatever pains he may have 
 taken, there is no look of labour oc ftiffnefs; and his pictures are remarkable, not 
 only for retaining their original luftre, but for having the fame beautiful effect, at a proper 
 diftance, as they have when brought to the neareft view. 
 
 The mod capital picture of this mafter in Holland was, not very long fince, in the 
 poffeffion of the widow Van Hoek, at Amfterdam ; it was of a fize larger than ufual, 
 being three feet high, by two feet fix inches broad, within the frame. In it two rooms 
 are reprefented; in the firft (where there appears a curious piece of tapeftry, as a feparation 
 of the apartments) there is a pretty figure of a woman giving fuck to a child; at her fide 
 is a cradle, and a table covered with tapeftry, on which is placed a gilt lamp, and fome 
 pieces of ftill life, in the fecond apartment is a furgeon's fhop, with a countryman 
 undergoing an operation, and a woman ftanding by him with feveral utenfils. The folding 
 doors fhew on one fide a ftudy, and a man making a pen by candle-light, and on the other 
 fide, a fchool with boys writing and fitting at different tables ; which parts are lighted 
 in a moft agreeable and furprifing manner; every part, and every particular object, being 
 expreffed with fo much beauty, truth, nature, and force, as is fcarce to be comprehended,, 
 It was his peculiar talent to fhew in a fmall compafs, more than other painters could 
 exprefs in a much larger extent. . 
 
 I cannot forbear remarking, that, among a number of gentlemen of fortune, who travel 
 to Paris, and any part of Italy, there are fome few who return without any real refinement 
 of tafte to their own country; and being poffeffed with vanity, conceit, or affectation, 
 bring back with them no more real knowledge of the art of painting, than they exported* 
 
 Yet, in order to aftume the appearance of that judgment and fkill which they do not 
 polfefs, their ufual cuftom is to decry and depreciate all the works of the Flemifh painters, 
 and to defpife thofe particular excellencies in them, which are generally above their 
 capacities to difcern, and which the more judicious Italians readily acknowledge. 
 
 But thofe imperfect connoiffeurs would act more wifely, if they obferved that perfons 
 of the fineft tafte in Italy prize the beft of the Flemifh mafters, according to their pro- 
 portional merit ; they do not rank them with their own countrymen, for elegance of tafte, 
 for beautiful forms, for grace, or true grandeur of defign; but they admire the beft of 
 the Flemings, for their fweetnefs of colouring, for the charming effect of their chiaro- 
 fcuro, for their delicacy of pencil, for their tranfparence, and their true imitation of nature, 
 though it may not be nature in her moft graceful appearance. And they ought alfo to 
 obferve, that many of the moft elegant collections and cabinets in Italy, particularly the 
 celebrated Florentine collection, are repofitories for the works of fome of the Flemifh 
 mafters, fuch as Douw, Teniers, Hobbema, Mieris, Berchem, Vanderwerf, Ruyfdal, 
 Brueghel, Rubens, Vandyck, Rembrandt, Oftade, and others. 
 
 At Turin are feveral pictures by Gerhard Douw, wonderfully beautiful ; efpecially one, 
 of a doctor attending a fick woman, and furveying an urinal. . The execution of that 
 painting is aftonifhingly fine; and although the fhadows appear a little too dark, the whole 
 has an inexprefuble efTect. In the gallery at Florence, there is a night-piece by candle- - 
 - L light. 
 
D R I 
 
 r 194 ] 
 
 D R O 
 
 light, which is exquifitely finiflied; and in the fame apartment, a mountebank attended by 
 a number of figures, which it feems impoflible cither fufHciently to commend, or to 
 defcribe. 
 
 William Van DRILLENBURG. 
 
 Painted Landfcape. 
 
 This painter was born at Utrecht, in 1626, and learned the art of painting only for 
 his amufement from Abraham Bloemart; but he made it afterwards his whole ftudy, and 
 pra£tifed it as a profeflion. When he had fpent fome years under Bloemart, he quitted 
 him, and aflumed a manner of painting very different from that of his mafter ; for heftudied 
 to imitate the ftyle of John Both, in the choice of his fubjedts and fituations ; in his 
 trees, Ikies, and diftances; and he might have flood in competition with him, if his 
 colouring had more of the look of nature, or if his touch had been as light, free, and 
 delicate, as the touch of that excellent mafter. But, notwithftanding all his induftry, he 
 could never arrive at that beauty of colouring which diftinguifhes the landscapes of Both, 
 and gives them fo juft a preference to the landfcapes of mod other painters. 
 
 He was very affiduous at his work, and generally drew thofe deiigns at night which 
 he intended for his painting the next day; and took fo much delight in the praciice of his 
 art, that he very often fuffered a whole month to pafs away, without walking abroad even 
 once in all that time. Houbraken was the difciple of this mafter. 
 
 DROGSLOOT. 
 
 Painted Landfcapes and Fairs. 
 
 Some perfons affirm that this artift was born at Dort, and others fay he was born at 
 Gorcum; but certainly the greateft part of his life was fpent at Dort, where he was very 
 much encouraged and employed. 
 
 His fcenes are all taken from nature, being views of towns, villages, or cities, which 
 are represented with fo much truth and exa&nefs, as to make them readily known at a 
 firft view} and his fubjects were all from the loweft life, fairs, markets, kermeffes, with 
 a multitude of figures, or parades for military exercifes. His landfcape is fometimes 
 pleafant in the colouring, the fides clear, the diftances well obferved, and the perfpeclive 
 of the buildings true i but his figures always want elegance, and are for the moft part 
 diragreeable forms ; yet ftill there is a great deal of nature in their actions, attitudes, 
 and occupations. 
 
 He had a good pencil, and his touch is free and firm ; but what exceedingly depre- 
 ciates his works, and diminifhes their value with perfons of tafte, is the remarkable 
 uncomelinefs of his figures ; the ftrong refemblance that runs through all his compo- 
 fitions ; fomewhat that looks hard and dry; and a tone of colour that is often too yellow, 
 and frequently too dark. But, in fome of his landfcapes, he is much more happy than in 
 others. 
 
 2 DROST. 
 
D R O 
 
 C 195 3 
 
 DUB 
 
 D R O S T. 
 
 Painted Hi/lory and Portrait. 
 
 He was a difciple of Rembrandt, and painted in the manner of that great artift, with 
 a bold pencil, and ftrong colouring ; but, when he quitted the fchool of that mafter, he 
 fettled at Rome, and lived there for feveral years, in a thorough intimacy with Carlo 
 Lotti, and other eminent painters ; by whofe inftructions, and his attention to the 
 fineft productions of art, he acquired a tafte of defign far fuperior to that of Rem- 
 brandt. 
 
 A capital picture by this mafter, is a St- John preaching, which confifts of a great 
 number of figures, with good expreflion, well grouped, and excellently coloured. 
 
 Aart Janze DRUIVERSTEIN. 
 
 Painted Landfcapes and Animals. 
 
 DIED 1617, AGED 53* 
 
 This artift was born at Haerlem, in 1564 s and, according to the teftimony of Van 
 Mander, was a very fine painter of landfcapes, with fmall figures, and different kinds of 
 animals. 
 
 He was a perfon of fortune and diftinction in his own country, who ftudied painting 
 merely as an amuferrient, and practifed it entirely out of love to the art, and not to make 
 it a profeflion for any pecuniary advantage. 
 
 Simon DUBOIS. 
 Painted Portraits, Battles, and Cattle. 
 
 DIED I708. 
 
 He was born at Antwerp, and proved a much better painter than his brother Edward 
 Dubois. At his firft arrival in England, he painted portraits of a fmall fize in oil- 
 colour, which are commonly diftinguiihed by the laced cravats, the fafhion of that time. 
 However, portrait was not his excellence j for, originally he painted fmall battle pieces, 
 in the tafte of the Roman fchool; and afterwards, having received fome inftruclions 
 from Wouwermans, he painted horfes and cattle j and whenever he painted figures, the 
 faces were always neatly finifhed. 
 
 He fold feveral pictures of his own painting, for original pictures of Italian mafters j 
 faying, that fince the world would not do him juftice, he would take care to do it to 
 himfelf. He had fuch a demand for his works, that he grew rich, and married the 
 daughter of Vandervelde. 
 
 John 
 
d u e 
 
 C 196 3 
 
 d u 1 
 
 John Le DUC. 
 Painted Animals. 
 
 This painter was born at the Hague, in 1636, and was a difciple of Paul Potter, 
 Whofe excellence in painting cattle is fo univerfally known ; and the moft honourable 
 teftimony that can be given to Le Due, is, that his pictures fo ftrongly referable thofe 
 of his mafter, that they are often miftaken for Potter's. 
 
 His fubjects were the fame as thofe of his mafter, cows, flieeps, goats, and horfes.; 
 and he had the fame freedom of pencil, as well as the fame elegance and truth in his 
 delign, and finiftied his pictures very highly. He was appointed director of the academy 
 of painting at the Hague, in the year 16715 but the time of his death is undetermined. 
 
 I s a a c DUCART, 
 
 Painted Flowers* 
 
 DIED 1697, AGED 67. 
 
 He was born at Amfterdam, in 1630, and painted generally on fatin, giving his objects 
 great luftre and beauty, and reprefenting every flower as exact as it appears in its 
 natural bloom ; no artift before him having brought fuch a kind of painting to fo great 
 a degree of perfection. He refided for a long time in England, and from thence brought 
 the art into Holland, where he practifed it with extraordinary fuccefs. 
 
 H eyman DULLAERT. 
 Painted Hi/lory and Portrait. 
 
 DIED 1684, AGED 48. 
 
 He was born at Rotterdam, in 1636, and from his infancy fhewed a ftrong genius to 
 painting. His father, who was a picture merchant, obferved with great fatisfaction the 
 promifing talents of his Ton; and to afford him the beft opportunity of cultivating them 
 fuccefsfully, he placed him as a difciple with Rembrandt ; whofe manner of colouring, and 
 ftyle of defign, he ever after happily imitated. 
 
 He is reprefented by all writers as an incomparable painter ; and Houbraken, as well 
 as Weyerman, defcribe fome of the works of Dullaert, in terms of the higheft com- 
 mendation, for their beautiful colouring, and the free, bold manner in which they are 
 handled. 
 
 A very capital picture of this mafter, is a hermit on his knees, which is executed with 
 fo much fpirit, that it might have been accounted the work of Rembrandt himfelf, if the 
 name of Dullaert had not been marked upon it : and a picture reprefenting Mars in 
 armour was fold at a public fale at Amfterdam, in 1696, for an undoubted painting of 
 Rembrandt, though in reality it was painted by his difciple Dullaert. 
 
 c Albert 
 
D U R 
 
 i *97 ] 
 
 DUR 
 
 Albert DURER. 
 Painted Hijlory^ Land/cape, and Portrait. 
 
 DIED I528, AGED 57. 
 
 This memorable artift was born at Nuremberg, in * 147 1, and was a difciple of 
 Michael Wolgemuth, with whom he continued for three years. 
 
 No painter could poffefs a more univerfal genius, nor had a more extenfive knowledge 
 of the principles of his art, in all its different branches. Anatomy, perfpective, 
 geometry, civil and military architecture, were fo thoroughly underftood by him, that he 
 wrote treatifes on thofe feveral fubjects. It was a great lofs to himfelf, as well as to the 
 world, that he was unacquainted with the antique ; which would have refined his tafte, 
 and diverted it of that which appears Gothic in his ideas and compolitions. And Vafari 
 •does him the juftice to affirm, that if Albert had been born in Florence, (and not in 
 Germany), where he might have been early converfant with the beautiful works of the 
 antients, which are difperfed through all parts of Italy, he would have proved the beft 
 painter of the Italian fchool, as he now is the ornament of the Flemiih. 
 
 He only ftudied unadorned nature, and never attended to thofe graces which even 
 the ftudy of nature might afford him, by a judicious or an elegant choice. However, 
 his imagination was lively, his compofition grand, his execution happy, and his pencil 
 was delicate. He finifhed his works with exact neatnefs, and was particularly excellent 
 In his Madonna's, if he had encumbered them lefs with loads of drapery. 
 
 But, notwithstanding the Gothic gufto of his defigns, there are beauties in them, by 
 which the Italians themfelves have improved considerably j and it is reported that even 
 Raphael (who highly honoured the talents of Albert) received both pleafure and instruction 
 from the prints of that extraordinary mafter. 
 
 Yet, although he far furpaffed the painters of his own nation in many particulars, he 
 could not avoid their defects; fuch as, a drynefs and defect in the contours; a want of 
 the juft degradation of tints ; an expreffion without an agreeable choice ; and draperies, 
 though caft in broad folds, which had an air of dignity, yet not fufficiently (in many of 
 them), or not properly explaining the naked. He was no obferver of the coftume, even 
 in the fmalleft degree ; nor did he understand any thing relative to the aerial perfpective ; 
 but, as to his compofition, it fhewed elevation of thought, and found judgment. The 
 
 D d finifliing 
 
 * Sandrart, De Piles, and the Chronological Tables, agree in fixing the birth of Albert Durer in 1471, and 
 his death in 1528, at the age of 57; but the authors of the Abrege de la Vie des Peintres firft, and after them 
 Mr. Defcamps, a much later writer, agree unaccountably in a palpable miftake; for, they fay he was born in 1470, and 
 died in 1528, at the age of 57, which cannot be fail ; becaufe 57, added to 1470, makes only 1527, yet they allow 
 that he died in 1528, aged 57. 
 
 It is fuch a miftake as might be excufeable in the authors of the Abrege, who wrote firft; but a fubfequent writer, 
 who negligently overlooks fuch a miftake, and adopts it, cannot appear as critically attentive as he ought to have been, 
 from a refpeel to the public, and to his own credit. 
 
D U S 
 
 C 19* 3 
 
 D U S 
 
 fini thing of his pictures was remarkably neat; and although he fpent a great deal of time 
 in engraving, he painted abundance of pictures. 
 
 Among the beft of this matter, are mentioned the Adoration of the Magi ; the Virgin 
 crowned with rofes by angels ; and Adam and Eve as large as life ; which are preferved 
 in the cabinet of the Emperor at Prague. In a chamber at Munich is a picture by 
 Albert, reprefenting the firft battle of Alexander with Darius, which is accounted an 
 admirable performance, painted in the moft finifhed manner, with incredible patience 
 and labour. It contains a prodigious number of figures ; and yet the hairs of their 
 heads, and their beards, the fmalleft joints of their armour, and other minutiae, are 
 diftinctly expreffed. 
 
 At Venice, in one of the grand apartments, is an Ecce Homo, which hath a great 
 deal of merit; and in the Grand Duke's palace at Florence, is another picture of the 
 fame fubject; lefs dry, and more grand in the compofition, than ufual ; yet the defign 
 and the colouring are but indifferent. But, in the gallery of that palace, an Adam and 
 Eve is excellent, as alfo are the pictures of St. Philip, St. James, and his own portrait. 
 
 Cornelius DUSART. 
 Painted Converfations^ Dancings.) and Taverns. 
 
 DIED I7O4, AGED 39. 
 
 He was born at Haerlem, in 1665, where he became a difciple of Adrian Oftade, and 
 made a near approach to the merit of his mafter. He habituated himfelf to obferve the 
 manners, cuftoms, and pallions of the boors and peafants, at their feafts, fports, fairs, 
 dancings, drinkings, and quarrellings ; and rendered his compofitions entertaining, by a 
 lively and true reprefentation of nature, as it appeared in the characters, amufements 
 and exprellions of perfons in very low life. 
 
 The imagination of Dufart was remarkably ftrong, and his memory amazing; for, 
 whenever hefaw a ftri king original figure, which he thought capable of being introduced 
 into any future defign, he could, at any diftance of time, recall the idea of it, and retain 
 every trace of it fo diftinct, as to defcribe it with the fame attitude, humour, and natural 
 turn, as if the object had been then prefent before his eyes. 
 
 He was naturally of a weak constitution, which^was ftill more impaired, by his conftant 
 application and ftudy. He was of a fober and retired turn of mind, being no farther fond 
 of company, than as it might promote difcourfe on his favourite topics, fuch as painting, 
 drawing, defigns, or prints, as he had of the latter a very large and curious collection. 
 His moft intimate friend was Adam Dingemans, who was a great collector of prints and 
 drawings, and a conftant vifitor of Dufart ; and that friend, having one day fat with him 
 for fome time, and leaving him only while he went home to fetch a curious drawing for 
 his amufement, at his return in about half an hour, found Dufart lying dead on his bed. 
 Whether that unexpected fight affected Dingemans too violently, or whether grief for 
 
 the 
 
D U V 
 
 I 199] 
 
 DUV 
 
 the fudden lofs of his friend made too ftrong an impreffion on his mind, is uncertain ; 
 but he died on that very day, and the two friends were interred together in the fame 
 church. 
 
 Dufarthad a great deal of merit; his colouring is of the fchool of Oftade, and he had 
 rather more dignity and fpirit than his mafter ; but he never could arrive at the perfections 
 of Oftade, either in colouring, compofition, or handling. His fubject's are full of 
 humour, and they are all real pictures of nature in low life. His figures, as well as thofe 
 of Oftade, want elegance; but there is abundance of truth in his characters, and a 
 competent degree of tranfparence in his colouring ; his perfpective is very exact, and 
 his local colours are true. 
 
 Nicholas DUVAL. 
 Painted Hijiory. 
 
 DIED I732, AGED 88. 
 
 He was born at the Hague, in 1 64^ and inftructed in the art of painting by Nicholas 
 Wieling, a considerable hiftory painter, with whom he made a good progrefs. On his 
 quitting that mafter, he- travelled to Rome, and continued there for fome time ; ftudying 
 the beauties of the antiques, and alfo the noble compofitions of the modern great 
 artifts; and from thence he vifited Venice, where he acquired additional improvement, 
 by ftudying thofe incomparable models which occurred to him in that city. 
 
 During his refidence in Italy, he became a difciple of Pietro da Cortona, to whofe 
 ftyle and manner of compofition and colouring he ever after entirely adhered; and 
 returned to his own country with the reputation of being an excellent painter. His 
 merit introduced him to the favour of the Nobility, and at laft recommended him to King 
 William III. who employed him in feveral works at Loo, and intrufted him to clean and 
 put in order the celebrated cartons of Raphael, and to place them in Hampton-court. 
 He was afterwards appointed director of the academy at the Hague. 
 
 It is much to be regretted, that fuch a mafter as Duval, pofleffed of fuch extraordinary 
 talents, and fo capable of being an honour to his profeffion, fhould have left fb few of his 
 works. But his love of the art was extinguished by the affluence of his fortune, 
 which ought rather to have proved the means of increafing it. 
 
 The tafte of compofition and defign of Duval is exactly like his mafter Cortona ; and 
 in the falon of the academy at the Hague, there is a cieling of his defign, which fuffi- 
 ciently {hews the genius and the merit of this artift. 
 
 Marc Van DUVENEDE. 
 
 Painted Hijiory. 
 
 DIED I729, AGED 55. 
 
 This painter Was born at Bruges, in 1674, and went to Italy when he was very 
 young. Two years he fpent at Naples, diligently purfuing his ftudies; but he derived 
 
 D d 2 his 
 
D, Y C 
 
 EEC 
 
 his principal (kill and improvement from being a difciple of Carlo Maratti, with whom 
 he continued four years; nor did he. withdraw himfelf from the infpeclion of that able 
 inftructor, till he was thoroughly qualified to merit the approbation of the public. 
 
 As his reputation had extended itfelf to his own country,, no fooner was his return 
 thither known, than he was employed in feveral grand works for the churches and 
 convents ; but,' in a few years .he grew indolent, by having an eafy income independent 
 on his profeflion ; and, for feveral years before his death,, he performed not any thing of 
 confequence. 
 
 His pictures, as to compofition and colouring, were entirely in. the manner of Maratti j 
 he had a good tafte of defign, an eafy and broad manner, full of force ; but it ought to 
 be obferved, that thofe of his firft time, foon after his return from Italy, are very eafily 
 diftinguifhed from thofe of his latter time, by a very different degree of merit. 
 
 At Bruges, in the chapel of St. Chriftopher, there is a capital picture of this mafter, 
 reprefenting the martyrdom of St. Lawrence; and in that city alfo, there is a fine 
 compofition,. of Solomon offering incenfe to idols. 
 
 DYCK. Vid. V A N d y c K. 
 
 E. 
 
 Gbrbjrant Vander EECKKOUT. 
 Painted Portrait and Hi/lory. 
 
 DIED 1674, AGED 53. 
 
 He was born at Amfterdam, in 1621, and was a difciple of Rembrandt; whofe manner 
 of defigning, colouring, and penciling, he imitated fo wonderfully, that it is difficult to 
 diftinguifh between feveral of his paintings, and thofe of his mafter. 
 
 He painted after nature, and with fuch a force as only nature can equal; his touch, 
 and his colouring, are the fame as Rembrandt's ; but he rather excelled him in the extre- 
 mities of his figures. His principal employment was for portraits, and in thofe he was. 
 admirable; but he furpafled all his cotemporaries, in the power he had of painting the 
 mind in the countenance. His mafter-piece in that ftyle was the portrait of his own 
 father, , which had fo much force, refemblance, and life,, as to aftonifh even Rembrandt 
 himfelf, when he faw it. 
 
 But, although Eeckhout painted portraits to fo great a degree of perfection, that he 
 was perpetually folicited to work in that way, yet was> he much more pleafed to paint 
 hiftorical fubjects, as he executed them with equal fuccefs. In that ftyle his compofition 
 
EEC 
 
 EEC 
 
 is rich, and full of judgment; the diftribution of his mafles of light and fhadow is 
 truly excellent j and in the opinion of many connoifleurs, he had more tranfparence in his 
 colouring, and better expreflion, than his mafter. Yet, that is ftrongly contefted by- 
 others. His back-grounds are generally clearer and more bright than thole of Rembrandt; 
 and by all judges he is allowed to be, by far, the beft difciple of that mafter; little 
 inferior to him in moft particulars, and in fome refpedts he is accounted to furpafs him. 
 However, it muft impartially be obferved that, if he attained to the perfections of. 
 Rembrandt, . he alfo fhared his defects; if he excelled in expreflion and colouring, he was 
 likewife incorrect in his defign, he wanted elegance and grace, and was totally negligent 
 of the coftume. 
 
 In the collection of the Elector Palatine, a picture of this, mafter is mentioned, as 
 having aftrong and an admirable expreflion; the fubject is, Chrift among the Doctors^ 
 the principal figure being reprefented with an air, countenance, and attitude, fo very 
 expreflive, that a fpectator would imagine he knew what they faid, or even what they 
 thought. And another picture of this mafter, reprefenting Simeon with Chrift in his 
 arms, is a moft excellent performance. 
 
 Anthony Vanden EECKHOUTY. 
 Painted Fruit and F/ozvers, . 
 
 DIED 1695, AGED 39. 
 
 He was born at Bruflels, in 1656, and it is not afcertained from what mafter he 
 learned the art of painting ; but he travelled to Italy with his brother-in-law Lewis 
 Deyfter, a very eminent artift, with whom he painted in conjunction, during the whole 
 time of his continuance abroad ; Deyfter painting the figures, and Eeckhout the fruife, 
 and flowers. Yet, in the works of thofe aflbciated artifts,, there appeared fo perfect a 
 harmony and union, that the difference of their pencils was quite, imperceptible, the 
 colouring and the touch Teeming undoubtedly of the fame hand. 
 
 When he returned to Bruflels, he received many marks of refpect and diftinction, and 
 alfo an appointment to a very honourable ftation ; yet he foon forfook friends, honours, 
 and a certainty of being enriched, and embarked for Italy,., where he wiihed to fpend the 
 remainder of his days. But chance conducted him to Lifbon, where his pictures fold 
 for an exceeding high price, as he painted all his fubjects in the Italian tafte. 
 
 He diligently and curioufly ftudied nature ; and, during his refidence in Italy, he had 
 taken pains to (ketch fo many elegant form of fruits and flowers, that he had a fufficient 
 number for all his future compofitions, and he difpofed them with an infinite variety. 
 He had lived at Lifbon not above two years, when a young lady of quality, and of great 
 fortune, married him ; but his fuccefs and affluence unhappily excited the envy and 
 jealoufy of fome abandoned ruffians, who fhot him as he was taking the air in his coach, 
 nor could the aflaflins ever be difcovered, 
 
 Gerard 
 
E D E 
 
 £ 202 ] 
 
 ELL 
 
 Gerard EDEMA. 
 Painted Landfcape. 
 
 DIED I7OO, AGED 48. 
 
 He was born at Amsterdam, in 1652, and was a difciple of Everdingen ; and having 
 made a good proficiency under that matter, he applied himfelf to the ftudy of nature. As 
 his imagination was moft delighted with the magnificent wildnefs of nature, he made his 
 principal ftudies among the mountains of Switzerland j and the fcenes he chofe to 
 reprefent, were tracts of rude uncultivated countries, interfperfed with rocky hills, cliffs, 
 cafcades, and torrents, which he always exprefTed well. 
 
 His manner of painting is broad and bold, in imitation of the ftyle of his mafter ; his 
 ikies are fomewhat warm j but, in the greateft part of his pictures they are rather fiery, 
 and not very agreeable to the eye ; and although there is fomewhat ftriking in his com- 
 pofitions, yet even that which ftrikes us is not always pleafing. 
 
 He went to England in the year 1670, where he followed his profeffion as long as he 
 lived. It is obferved, that neither his own works, nor the works of Everdingen, are at 
 prefent in as much efteem as they were formerly. The figures in the landfcapes of 
 Edema were generally inferted by Wycke. 
 
 Justus Van EGMONT. 
 Painted Hijiory. 
 
 DIED 1674, AGED 72. 
 
 This painter was born at Leyden, in 1602; and by fome writers is mentioned as having 
 ftudied under Vandyck, though that circumftance in his education feems not to be 
 inconteftably afcertained. For many years he refided in France, in the fervice of 
 Lewis XIII. and XIV. being one of thofe mafters who were diftinguifhed by the Court, 
 and employed in the eftablifhment of the Royal Academy of Painting and Sculpture at 
 Paris. 
 
 He affifted Vouet in many of his grand undertakings, and painted hiftorical fubjects in 
 large as well as in fmall j and at that time was very highly regarded by the French 
 Monarch, who admired his compofitions extremely, and was very liberal in rewarding 
 him for his work. 
 
 Ottomar ELLIGER, or Elger, the Old. 
 
 Painted Fruit and Flowers. 
 
 He was born at Gottenburg, in 1633, and became a difciple of Daniel Segers, whofe 
 manner of handling and ftyle of colouring he ftudied with an exact and nice obfervation, 
 and imitated him with the greateft fuccefs. 
 
 His extraordinary merit in his profeffion procured him an invitation to the Court of 
 Berlin, where his performances received an univerfal approbation ; and they are as eagerly 
 
 2 purchafed 
 
ELL 
 
 C 203 ] 
 
 E L I 
 
 purchafed as thofe of Segers, his mafter ; but they are very rarely to be met with in 
 thefe kingdoms, moft of them being carefully preferved in the German collections, among 
 which they are accounted confiderable ornaments. 
 
 Ottomar ELLIGER, or Elger, the Young. 
 Painted Hiftory. 
 
 DIED 1732, AGED 66. 
 
 He was born at Hamburgh, in 1666, the fon of Ottomar Elliger, a famous flower- 
 painter at Berlin. At firft he learned the rudiments of the art from his father, and then 
 was placed as a difciple with Michael Van Muffcher; but as the works of Laireffe feemed 
 to him to have an uncommon degree of beauty, he entered himfelf in the fchool of that 
 mafter, who took all poflible care to improve him, by making him copy the works of the moft 
 eminent painters, and directing him to ftudy nature attentively. Laireffe laboured with 
 fo much earneftnefs to accomplifli Elliger, that in one year he was qualified to compofe 
 readily, without following the manner of any mafter, except ftudying ample nature. 
 
 His ftyle is great, and his back-grounds are elegantly enriched with architecture ; in 
 which one may obferve the noble remains of the ancient Greeks, Egyptians, and Romans; 
 for, if the fcene of his fubject was laid in any of thofe countries, he always contrived 
 to introduce fome bas-relief or monument, relative to the times in which the tranfactions 
 of his fubject might hiftorically be fuppofed to happen. In his compofitions he fhewed 
 fpirit as well as genius, and afforded equal pleafure to the profeffed artifts, and to perfons 
 of literature. 
 
 Several grand falons and apartments, at Amfterdam, are painted by Elliger ; and for the 
 Elector of Mentz he painted two very fine defigns, the one, the Death of Alexander, and 
 the other, the Nuptials of Peleus and Thetis, which are exceedingly admired and applauded. 
 For thofe Elliger was amply rewarded, and received confiderable prefents from the 
 Elector, who propofed to appoint him his principal painter, with a large pennon ; but he 
 politely declined accepting that intended honour. 
 
 He not only painted in large, but excelled equally in fmall eafel pictures ; and even 
 one of his compofitions, which reprefents the Banquet of the Gods, is fufEcient to 
 perpetuate his reputation. But notwithftanding his great talents, he gave himfelf up, in 
 the latter part of his life, to drinking and diffipation, which impaired his powers (as 
 is generally the cafe), and made a viable alteration for the worfe . in all his future 
 compofitions; fo that, for the moft part, they are very indifferent and poorly coloured. 
 
 Matthew or Matthias ELIAS. 
 Painted Hijiory and Portrait. 
 
 DIED I74I, AGED 83. 
 
 He was born at Caffel, in 1658, of very poor parentage, and originally employed in 
 attending cattle, while he was a youth; but as Corbeen, a painter of hiftory, paffed 
 
 accidentally 
 
ELS 
 
 C 204. ] 
 
 ELS 
 
 accidentally by, he faw the lad tracing out figures, and drawing a fortification on the 
 ground; which induced him to delire the parents of Elias to let him have the boy to 
 educate him, and teach him the art of painting, as he faw fuch ftrong appearances of a 
 promifing genius in him. The propofal was acccepted : Elias became his difciple, and 
 loon gained the affection and efteem of his m after, by fhewing himfelf fuperior to all his 
 companions. At the age of twenty he was fent by his mafter to Paris for farther 
 improvement, from whence he remitted fome of his performances to his benefactor 
 Corbeen ; endeavouring by that means to repay him, to the beft of his ability, for the 
 care he had taken in his education. 
 
 For fome years he continued in Paris, but went afterwards to Dunkirk, where he 
 painted a grand altar-piece reprefenting the Death of St. Barbe, which is nobly defigned; 
 and it procured him many admirers. For the church of the Carmelites alfo he finifhed 
 another, which is commended as an excellent compofition, with great harmony, and a 
 tone of colouring more true, and more warm, than any of his ufual paintings. The 
 beauty of the colouring in this work gained him the approbation of allperfons of judgment 
 in the art ; and their favourable opinion excited him to exert himfelf ftill more to improve. 
 
 At firft his colour was raw and cold, which is obfervable in a picture of his painting, 
 in the church of Notre Dame, at Paris; but he acquired a different manner in his latter 
 works, and his draperies were more broad, more eafy, and more natural. His defign is 
 correct, and his compofition very good, although he compofed with labour and difficulty; 
 and it took him up a confiderable time before he could (ketch out a fubject, fo as to be 
 ready for his pencil ; but to conceal that labour from being obferved by others, he admitted 
 not any to fee him at work. 
 
 Some of his portraits of men are well efteemed; but thofe of his women want elegance, 
 as well in their drefs and attitudes, as in the airs of their heads ; and even in his hiftorical 
 pictures, the draperies of the female figures are not agreeable, nor are their heads attired 
 with as much elegance as could be wifhed. 
 
 Adam ELSHEIMER, or Elzhetmer. 
 
 Painted Land] "capes and Moonlight ■> with fmall Figures. 
 
 DIED l620, AGED 46. 
 
 He was born at Frankfort, in * 1574, and was a difciple of Philip Uffenbach; but as 
 he, in a very fliort time, proved a much better painter than his mafter, he determined to 
 
 complete 
 
 * The dates of the birth, death, and age of this mafter, are unaccountably different, according to different writers. 
 
 De Piles, Refta, and the Hiftorical Tables, fix his birth in 1574, his death in 1610, and at the age of 36. 
 
 Houbraken fixes his birth at Alkmaar, in 1621, and his death in 1675, 3t a S e ot ' 54> which is beyond all proba- 
 bility, as might eafily be proved. 
 
 The authors of the Abrege de la Vie des Peintres fix his birth truly in I574> and his death in 1620, and yet fay he died 
 at 56} though, if he died at 56, he muft have died in 1630, and not in 1620 as they alledge. 
 
 Mr. Defcamps has copied the very fame miftake, of which the other French authors are guilty, without once reflecting 
 that from 1574 to 16:0 can only be 46 years, and not 56. 
 
 I have therefore preferred the dates in the Muficum Floreminum, his birth at Frankfort in J574> his death in 1620, 
 aged 46. 
 
ELS 
 
 t 205 ] 
 
 E t S 
 
 complete his ftudies at Rome, to acquire that knowledge, which he perceived to be not 
 fo readily obtained in his own country. 
 
 When he arrived in Italy, he commenced an intimacy with Pinas, Laftman, Erneft 
 Thomas of Landau, and other very eminent painters ; and after examining the greateft 
 curiofities of Rome, in the works of the beft ancient and modern artifts, he fixed upon a 
 ftyle of painting peculiar to himfelf, of defigning landfcapes with hiftorical figures in fmall, 
 and in finifhing them in fo neat and exquifite a manner, as to be without a- competitor ; and 
 indeed far fuperior to any painter of that time in which 'he fiourifhed, and perhaps to any 
 fubfequent artift. 
 
 He defigned entirely after nature, and was remarkable for a mod retentive memory; 
 •being capable of recollecting' every incident that pleafed him, and making a beautiful ufe 
 of it in his compofitions. But his excellence in his art did not enable him to purfue his 
 profeffion with comfort or affluence; for-, notwithstanding his incomparable merit, his 
 work went on fo flow, by the neatnefs of his finifhing, that he could icarce fupport 
 himfelf or his family, by the product of his hand, and his genius. For his family was 
 large; and the time he fpent on every picture was fo extraordinary, that though he 
 received very confiderablc prices fer his work, he could not fubfift by what he earned ; 
 and being at laft overwhelmed with debts, and caft into prifon, although he was very foon 
 releafed, the difgrace which he fuffered, even by that fhort confinement, preyed upon his 
 fpirits, and he funk under his complicated misfortunes. His death was exceedingly 
 .regretted, even by the Italians, who honoured and efleemed him; and all the world 
 lamented the fevere fortune of fo enlarged a genius, who deferved more felicity than he 
 enjoyed. 
 
 It is impoflible to conceive any thing more exquifite in painting than the productions 
 of the pencil of Elfheimer ; for whether we confider the fine -tafte of his defign ; the 
 neatnefs and correctnefs of the drawing of his figures ; the admirable management ana 
 distribution of his lights and fhadows ; the lightnefs, the fpirit, and the delicacy of his 
 touchy or the excellence of his colouring; we are aftonifhad to obferve fuch combined 
 perfections in one artift. ; in whofe works, even the minuteft parts will endure the moft 
 critical inflection, and the whole together is inexpreliibly beautiful. 
 
 Old Teniers and Bamboccio fludied the works of Elfheimer accurately ; and it was 
 from what they obferved in his manner, that they arrived at that high degree of merit for 
 which they are fo celebrated. He underftood the principles of the chiaro-fcuro to the 
 utmoft perfection ; and he (hewed the folidity of his judgment in the management of his 
 fubjects, which for the moft par-t were night-pieces, by candle-light or torch-light, moon- 
 lights, fun-fetting, or fun riling ; and in all of them he fhewed his combined powers of 
 knowledge and execution. 
 
 While he was alive, his pictures bore an exceffive high price, which was amazingly 
 enhanced after his death : and Houbraken mentions one of them, reprefenting Pomona, 
 -which was fold for eight hundred German florins. 
 
 E e Sandrarf 
 
E M P 
 
 [ 206 ] 
 
 E N G 
 
 Sandrart defcribes a great number of his capital performances; among which are, Tobit 
 and the Angel, Latona and her Sons, with the Peafants turned into Frogs j the Death of 
 Procris; and his moft capital picture of the Flight into Egypt, which needs no defcriptioiij 
 as there is a print of it extant, engraved by Gaud, the friend and benefactor of Elfheimen 
 Some of his works are in the collection of the Grand Duke of Tufcany. 
 
 DA EMPOLL 
 
 Painted Hi/lory. 
 
 DIED 164O, AGED 86, 
 
 He was born at Empoli, in 1 554, and learned defign and colouring in the fchool of 
 Tommafo di San Friano, a Florentine; but after the death of his mafter, being defirous 
 to improve his ftyle, he ftudied the works of Andrea del Sarto, and endeavoured to imitate 
 not only the tafte of that great artift, but alfo his correctnefs. Nor did he fail of fuccefs: 
 for he by that means acquired an excellent manner of defign, and an agreeable tone of 
 colouring. 
 
 This mafter had a fine imagination; the airs of his heads are beautiful and elegant, and 
 his compofitions are full of life and fpirit. But, befide the acknowledged merit of 
 Empoli, in the defigns of his own invention, he had a peculiar power and excellence, in 
 copying the works of the moft celebrated mafters with fo perfect an imitation, and fo free 
 a touch, as to puzzle the beft judges, and make it difficult to diftinguifti between the 
 originals and the copies. 
 
 Cornelius ENGHELBRECHT. 
 
 Painted Hi/lory and Portrait. 
 
 DIED 1533, AGED 65. 
 
 He was born at Leyden, in 1468, and formed his ftyle of painting by imitating John 
 Van Eyck, being the flrft of his countrymen who painted in oil. He was excellently 
 fkilled in his profeffion, and worked, with equal reputation, in oil and diftemper. He 
 had a very commendable tafte of defign; he difpofed his figures with judgment; and his 
 draperies were rich, well caft, and lefs hard and dry in the folds, than they appeared in 
 the works of any cotemporary artift. Lucas Van Leyden, who had been his difciple, 
 adopted his manner entirely ; yet in many refpects he was very much inferior to Enghel- 
 brecht ; for, by the ableft connoifteurs of that time, the latter was accounted a mafter of 
 the firft rank among the artifts. 
 
 His moft capital performance, according to Sandrart and Van Mander, is the repre- 
 fentation of the Lamb in the Revelation of St. John, which he painted for a chapel in the 
 church of St. Peter at Leyden. ' It confifts of a great number of figures, which are well 
 difpofed; the countenances are noble and full of expreflion, and the penciling is very 
 delicate ; the whole together being an admirable performance. 
 
 Cornelius 
 
E N G 
 
 [ 207 ] 
 
 EVE 
 
 Cornelius ENGHELRAMS. 
 
 ■ Painted Hi/lory. 
 
 DIED 1583, AGED 56. 
 
 He was born at Mechlin, in 1527 ; and principally, if not entirely, painted in diftemper, 
 in which he was allowed to excel. 
 
 For the church of St. Rombout he painted the Works of Mercy, in which he defigned a 
 multitude of figures, in a good ftyle; and the character and expreflion are fo juftly marked, 
 that (as writers affirm) it is eafy to diftinguifh thofe who are real objects, from thofe 
 who are otherwife. Many of this matter's works are to be feen in Germany; and in the 
 church of St. Catherine at Hambourg, there is a grand and learned compofition, of which 
 the fubject is, the Converfion of St. Paul. 
 
 EREMITA di Monte Senario. Vid. Stephaneschi. 
 
 Cjesar Van EVERDINGEN. 
 Painted Hijiory , Portrait, and Land/cape. 
 
 DIED 1679, AGED 73. 
 
 He was born at Alkmaer, in 1606, and placed as a difciple with John Van Bronkhorft, 
 being at that time very young; yet, when he had fpent but a few years in that fchool, his 
 mafter had the fatisfaction to obferve a ftrength of genius in Everdingen, fuperior to all 
 thofe who were under his direction. He defigned with great readinefs, as he poffeffed a 
 lively imagination, and excelled equally in hiftory and portrait. His colouring had 
 abundance of force, and his pencil was free and firm. 
 
 Among a number of fine pictures of his painting, mentioned by writers on this fubjecl:, 
 one is a noble compofition reprefenting the Victory of David over Goliath. It was 
 painted on the folding doors of the organ in the great church at Alkmaer; the fketch of 
 it is hung up in the Council Chamber of that city, and it is dated 1648. Another is a 
 picture of the principal perfons of the artillery company, whofe portraits are as large as 
 life ; it is extremely well defigned, penciled, and coloured, and is a work which of itfelf is 
 fufficient to eftablifh his reputation. Adrian Dekker, a very fine painter, was the difciple 
 of this mafter. 
 
 Aldret Van EVERDINGEN. 
 
 Painted Landfcape. 
 
 DIED 1675, AGED 54. 
 
 This artift was the nephew of Caefar Van Everdingen 4 born at Alkmaer, in ibit* 
 His firft inftructor in the art of painting was Roland Savery ; and afterwards he became 
 
 E e 2 \ a difciple 
 
EVE [ 208 ] E Y C 
 
 a difciple of Peter Molyn, under whom he made fo remarkable a proficiency, that he 
 added much to the honour of his inftrudlor, and by many good judges was thought even, 
 to furpafs him. His merit was not confined to one part of his profeflion, but he poffefled. 
 a general knowledge of every branch of it; for he not only excelled in landicape, but his 
 figures, animals, and buildings, all which he ufually fketched after nature, have correaaefs, 
 and good difpofition. 
 
 He conduaed his diftances with fingular judgment,. and gave to his trees fo natural. and 
 eafy a form, that they appeared from his pencil the fame as they appeared from the hand 
 of nature. His expreffion of the impetuofity of torrents, cataracts, and itorms at fea, 
 were invented and executed with great fpirit; nor did he omit reprefenting the thin light 
 vapours and mitts that are excited by the violent, agitation of the waters ; in all which 
 particulars he had not a fuperior. 
 
 His particular excellence was in landfcape, which his ftudies after nature, or fometimes 
 his invention, readily furnifhed, and his pencil, as happily executed. But. he was moft 
 pleafed with defcribing the wildnefles of romantic nature, which he had obferved in a 
 voyage he made up the Baltic, and on the coafts of Norway. However, he frequently 
 painted fcenes that were folemn, of groves and forefts, where the eye was pleafingly 
 deluded to diftances exceedingly remote, through extenfive viftas ; and his compofitions 
 recommended themfelves, by affording an agreeable variety. 
 
 He finifhed an abundance of drawings, which fhewed a good invention, and great 
 freedom of hand; and it is much lamented that he was fo often engaged in painting large 
 pictures; becaufe thofe in a fmall fize are much fuperior in the penciling and finifhing, 
 and are very highly valued in Holland and Flanders particularly. 
 
 John Van. EVERDINGEN. 
 Painted Still Life. 
 
 DIED 1656. 
 
 He was the youngeft brother of Csefar Van Everdingen, born alfo at Alkmaer, wha, 
 painted fubje&s of ftill life, more for the delight he had in thofe kind of objeas, which 
 he carefully copied after nature, than from any profpea of advantage, as he had been 
 educated for the profeflion of the law. 
 
 Hubert Van EYCK. 
 Painted Portrait, Hijlory, and PerfpeJJives.. 
 
 DIED I426, AGED 60. 
 
 This memorable matter was born at Maafeyk, on the borders of the Meufe, in 1366, 
 and is accounted the founder of the Flemifh fchool; being an artift of fingular fkill and 
 genius* He was much efteemed for feveral mafterly performances in diftemper; and after 
 
 the 
 
E Y C 
 
 r *°9 ] 
 
 E Y C 
 
 the ufe of oil was happily found out,, he was celebrated for his extraordinary and curious 
 paintings in that wayj but for none independent on his brother John Van Eyck, who is 
 fo univerfally revered, for being the firft difcoverer of the art of painting in oil, in 1410. 
 
 One work of Hubert, in conjunction with John, is ftill preferved in a church at Ghent; 
 and it is not only beheld with admiration, but with aftonifliment. The fubject is, the Four 
 and Twenty Elders adoring the Lamb, as defcribed in the Revelation of St. John. The 
 defign contains three hundred and thirty figures,, with fuch a diverfity of countenances as 
 excites wonder even to this day; and it is never fhewn except on feftivals, or to oblige 
 Princes and Ambaffadors who exprefs a defire to fee it. 
 
 Philip I. of Spain wifhed to purchafe that painting; but finding it impracticable, he 
 employed Michael Coxis to copy it, who fpent two whole years on the work, and received 
 four thoufand florins from the King, by whom it was placed in the Efcurial. 
 
 John Van EYCK.. 
 Painted Hi/lory , Portraits^ and Landfcapei. 1 
 
 DIED 1 44I, AGED 71. 
 
 This painter, who is fo defervedly famous, was the younger brother of Hubert Van* 
 Eyck, born at Maafeyk, in 1370, and was a diiciple of his brother, but proved his fuperior- 
 in that art. 
 
 Yet, although his pictures were furprifingly finimed, though his eompofition was 
 extremely good, and the landfcapes which he introduced in his defigns, were adorned with 
 trees and plants copied from nature, and beautifully imitated; yet, his great honour arifes 
 from his inventing the ufe of oil in painting ; which, after many an ineffectual procefs, he 
 difcovered in the year one thoufand four hundred and ten. He had been very converfant 
 in chemiftry; and being extremely anxious to find fome varnifh, or chemical preparation, 
 that might preferve his colours in their purity, upon repeated experiments, he difcovered, , 
 that colours- prepared with linfeed or walnut oil would, retain their beauty and luftre, 
 without the afliftance of varnifh. And to John Van Eyck the art of painting is indebted, . 
 for the durable perfection to which it has been conducted by fucceeding artifts. 
 
 He finifhed his pictures with exquifite neatnefs, which hath greatly contributed to > 
 the beauty of his works, as well as to their value. And although his tafte. of defign 
 is not very elegant, yet his merit in other refpects, and particularly his fortunate difcovery 
 of a fecret, fo utterly unknown to former ages, will always recommend him to the jufl . 
 admiration of the lateft pofterity. 
 
 In the collection of the Duke of Orleans, there is a picture by this matter, repre- 
 fenting the Wife Men's Offering; and it is faid, that a capital painting by John Van 
 Eyck, of the Lord Clifford and his family, is at Chifwick, in the collection of the late 
 Earl of Burlington. 
 
 Petek.. 
 
[ 210 ] 
 
 E Y K 
 
 Peter * EYKENS, called the Old. 
 Painted Hijiory. 
 
 He was born at Antwerp, in 1599, and became eminent for his ftyle of compofition in 
 hiftorical fubjedts ; but the account which is given of him or his works by Weyerman, 
 is, by other judicious writers, accounted falfe and abfurd. 
 
 The compofitions of this mafter are full of fpiritj his figures have fome degree of 
 elegance; his draperies are broad, and the back-grounds of his pictures are enriched 
 with architecture and landfcape, in a good tafte. As he always ftudied and copied 
 nature, his colouring was warm, agreeable, and natural ; and to his carnations he always 
 gave a great deal of delicacy, particularly to the carnations of his nymphs and his boys. 
 
 He painted fubjects in one colour, fuch as baflb-relievo's, and vafes of marble, 
 extremely well j and frequently he was employed to infert figures in the landfcapes of 
 other mafters, as he defigned them correctly, and adapted them to the different fcenes, with 
 propriety and judgment. 
 
 A fine compofition, reprefenting the Laft: Supper, painted by Eykens, is to be feen in 
 St. Andrew's church at Antwerp ; and in another church is a grand altar-piece, of which 
 the fubject is St. John preaching in the Defert, exceedingly well executed. 
 
 * Mr. Defcamps, by fome unaccountable overiight, in his fecond volume, page 35, mentions Peter Eykens the 
 Old as being born in 1599, the year of his death unnoticed j and in the third volume, page 286, he mentions the 
 fame Peter Eykens the Old as being born in 1650, and appointed Director of the Academy at Antwerp, in 1689 ; and 
 yet, although he makes one of thefe painters older by half a century than the other, it is evident that he means, or at 
 leaft defcribes, but one and the fame pcrfon, as he enumerates their works, and afcribes the very fame works to both j 
 which may appear from the following extracts. 
 
 According to Defcamps, 
 
 The works of Peter Eykens the Old. 
 Born 1599, vol. ii. p. 35. 
 St. Catharine difputing againft the Pagans. 
 The Laft Supper. 
 St. John preaching, &c. 
 
 Xavier baptizing a Pagan King, which is in the Jefuits 
 churchat Mechlin j and another, of Xavier reftoring a 
 dead body to life. 
 
 The works of Peter Eykens the Old. 
 Born 1650, vol. iii. p. 286. 
 S. Catharine difputing againft the Pagans. 
 The Laft Supper. 
 S. John preaching, &c. 
 
 Xavier baptizing a Pagan King, which is in the Jefuits 
 church atMechlin ; and another, of Xavier reftoring 
 a dead body to life. 
 
FAB 
 
 C a» 3 
 
 F A C 
 
 F. 
 
 Gentile da FABRIANO. 
 
 Painted Hi/lory. 
 
 DIED I4I2, AGED 80. 
 
 ThIS matter was born at Verona, in 1332, and was a difciple of Giovanni da Fiefole- 
 In that early age of painting he rendered himfelf very famous, and was employed to 
 adorn a great number of churches and palaces at Florence, Urbino, Siena, Perufia, and 
 Rome, but particularly in the Vatican; and one picture of his, repr letting the Virgin 
 and Child, attended by Jofeph, which is preferved in the church of St. Maria Maggiore, 
 was highly commended by Michael Angelo. 
 
 By order of the Doge and Senate of Venice, he painted a picture in the great Council 
 Chamber, which was confidered as fo extraordinary a performance, that his employers 
 granted him a peniion for life, and conferred on him the higheft honour of their State, 
 which was, the privilege of wearing the habit of a noble Venetian. 
 
 His beft works were thofe which he executed in the early and middle part of his life j 
 becaufe, in the decline of his years, he grew paralytic, and his pencil became unfteady- 
 Giacomo Bellini was his difciple. 
 
 Charles FABRICIUS. 
 Painted PerfpeSiive and Portrait* 
 
 DIED 1654, AGED 30. 
 
 He was born at Delft, in 1624, and was efteemed the beft artift of his time in perfpec- 
 tive ; he was alfo accounted a good painter of portrait. As he had a very promifing 
 genius, the connoiffeurs conceived the higheft expectations of his becoming an ornament 
 to his profeftion; but unhappily having his dwelling-houfe at Delft, near the great 
 powder magazine, it fuddenly blew up, and he was killed in his chamber, while he was 
 intent on his work; and along with him was killed Matthias Spoors, his difciple, 
 
 Pietro FACHETTL 
 Painted Portrait. 
 
 DIED 1613, AGED 78. 
 
 He was born at Mantua, in 1535, and went to Rome to ftudy after the works 
 of thofe great mafters, whofe paintings have embellifhed and enriched that city. 
 
 2 His 
 
F A c i mz 3 W A c 
 
 His genius directed him principally to portrait painting, and he gradually arrived at fa 
 eminent a degree of merit in that branch, that he might almoft be compared with Scipio 
 Gaetano. 
 
 Moft of the Nobility of Rome, and particularly the ladies of diftinction, were painted 
 by his hand ; and his portraits were generally commended, for having a lively refem- 
 blance of the perfons, for being elegant in the defign, and for a lovely tafte with which 
 they were executed. 
 
 Tietro F A C I N I. 
 Painted Hijlory. 
 
 DIED l602, AGED 42. 
 
 He was born at Bologna, in 1560, where he accidentally happened to be a difciple of 
 Annibal Caracci; having acquired that advantage by an uncommon incident, which 
 introduced him to the acquaintance of Annibal, and eftablifhed a durable friendfhip 
 between them. 
 
 As F acini, pafled by the houfe of Annibal, he had the curiofity to go into the academy 
 of that famous mafter, to look on his difciples, drawing and deiigning ; and while he was 
 attentively engaged in obferving their work, he feemed fo wrapped up in deep meditation, 
 that one of the fcholars, out of drollery, drew the likenefs of Facini with black chalk, 
 and in a ftrong character of caricature. 
 
 The drawing was immediately handed about among the difciples, to the univerfal 
 mirth of the fociety, and the mortification of him who was made the fubject for ridicule. 
 But, when at laft the caricature was fhewn to Facini, and he faw the real caufe of fuch 
 extravagant buffoonery, he took up a piece of charcoal, and although he never had 
 learned to draw or defign, he fketched the likenefs of the perfon who had turned him 
 to ridicule fo ftrongly, and in fo ludicrous a manner, that the fub eel: for laughter was 
 entirely changed ; and Annibal, ftruck with admiration, to fee fuch an uncommon effort 
 of genius, generoufly offered to be his inftructor in -the art. 
 
 He foon made a wonderful progrefs under fo ingenious a preceptor, and in a fhort 
 time furpaffed all the other difciples, fo as to become the object of their envy, as he 
 before had been the object of their contempt. He pofTefTed a ready and lively invention; 
 his colouring was exceedingly pleafing; and his touch was free. His attitudes were juft, 
 and well chofen ; the airs of his heads were graceful and genteel ; and in fome of his 
 compofitions, he fhewed great iklll in difpofing a number of figures in proper groupes, 
 and giving them actions that were lively and fpirited. The whole was excellently 
 relieved by judicious maffes of light and fhadow.; yet he was fometimes incorrect, and 
 often fhewed too much of the mannerift. 
 
 At Bologna is feen a large compofition painted by this mafter. It represents the 
 .Marriage of St. Catherine, who is attended by four Saints, the reputed protectors of 
 
 5 Bologne. 
 
-F A E 
 
 r 213 ] 
 
 FAR 
 
 Bologna. This picture is excellently coloured, and touched in die ftyle of Baroccio; 
 but it is incorrect in the deiign, and there is an appearance of too much of the mannerift. 
 The boys, in that compofiticn, are very finely painted; and their colouring is beautiful 
 and true. Alfo, in the Pembroke collection at Wilton, there is a picture of Facini, of 
 which the fubject is, Chrift and three difciples, with Mary kneeling, and weeping on 
 account of her brother Lazarus who is dead. 
 
 Vander F A E S. y id. Lely. 
 
 Anthony F AI STE N BERGER. 
 Painted Landfcape. 
 
 DIED 1722, AGED 44. 
 
 He was born at Infpruck, in 1678, and learned the art of painting from one Bouritfch, 
 Who lived at Saltzbourg; but he made the works of Gafpar Pouffin and John Glauber 
 his models, and for his farther improvement ftudied nature accurately. He was invited 
 by the Emperor to the Court at Vienna, where, for a considerable number of years, he 
 was employed, and greatly refpected; and when he quitted Vienna, he was engaged 
 fucceflively by feveral of the Princes of the Empire. 
 
 His landfcapes are pleafing, particularly by the elegance of his buildings, which are 
 defigned in the Roman tafte. His fcenes are often folemn, and enlivened by cafcades of 
 water, rivers, and rocks ; his trees are natural, their foliage is touched with fpirit, and 
 his colouring is real nature. He was not expert at defigning figures; and therefore he 
 made ufe of Hans Graaf, and the old Bredael, to paint the figures in thofe landfcapes 
 with which he adorned the gallery of the Emperor, and alfo in thofe eafel pictures which 
 were painted for the cabinets of others. 
 
 Joseph F A I S TENBERG E R. 
 
 Painted Landfcape. 
 
 This artift was the younger brother of Anthony, and alfo his difciple ; and during the 
 time that the latter was engaged at Vienna, Jofeph was his afliftant; and they aflbciated 
 together in moft of the large undertakings, in which Anthony was employed. 
 
 Glauber, and Gafpar Pouffin, were his models, as they had been always the favourite 
 painters of his brother ; and the ftyle, penciling, and colouring of thefe two artifts, were 
 fo fimilar, that there is fcarce any difcernible difference in their works. 
 
 Paolo FARINATO. 
 
 Painted Hijiory. 
 DIED 1606, AGED 84. 
 
 He was born at Verona, in 1522, and fucceflively became the difciple of Antonio 
 Badile, and of Nicolo Golfinot 
 
 F f His 
 
FAR 
 
 C 214 J 
 
 FER 
 
 His tafte of defign was excellent, his imagination was fruitful, and he had a fine 
 invention ; fo that in many refpects he was an admirable mafter ; but he was not often 
 very happy in his colouring. Yet, the picture which he painted for the church of 
 St. George at Verona, which is carefully prefer ved there to this day, is much fuperior, in 
 refpect of colouring, to moft of his performances ; and in many particulars is fo truly 
 good, as to be accounted, by very able judges, not inferior to the work of Paolo Veronefe> 
 The fubject of the picture, is the miraculous feeding of the five thoufandi in which 
 there are a multitude of figures correctly defigned, judieioufly difpofed, and the 
 attitudes are eafy, natural, and becoming. That picture was defigned and executed, when 
 he was feventy-nine years old; and what is worthy of being remarked is, that he 
 poffefTed the lively powers of his imagination, and his ufual freedom of hand, at fo 
 advanced a period of his life ; and that he retained the ufe of all his faculties to the laft, 
 though he was eighty-four when he died. 
 
 In the Palazzo Sagredo, at Venice, is an Ecce Homo by Farinato, in which the head 
 of Chrift hath a character that is inimitably fine. And at Verona, in the church of 
 St. Giovanni in Fonte, is a picture reprefenting the Baptifm of Chrift by St. John, which 
 is in a grand ftyle, and a broad manner ; but the defign is hot very correct, and the 
 colouring is but indifferent, being too brown. 
 
 Orazio FARINATO, 
 
 Painted Hijiory. 
 
 He was born at Verona, and was the fon and difciple of Paolo, whofe ftyle and manner! 
 he ftudioufly imitated; and by the promptnefs of his genius, he compofed with fo much 
 fpirit and elegance, that the beft judges conceived the moft fanguine hopes of his 
 arriving at a high degree of perfection; but he died very young, univerfally regretted. 
 
 In the church of St. Stephen at Verona, feveral noble paintings by this mafter are 
 preferved, and they are extremely admired. 
 
 Il FATTORE. Vid. Francesco Penni. 
 
 F E L T R O. Vid. M o r t-o da F e l t r o. 
 
 Francis Paul FERG, or Fergue- 
 
 Painted Landf capes with Ruins> and Conversations. 
 
 died 1740, aged 51. 
 
 This painter was born at Vienna, in 1689 ; and his father, who was a painter of very 
 mean abilities, placed him with another artift, not much more capable of giving him 
 profitable inftructions ; under whom Ferg patiently practifed for four years ; till his 
 father, apprehenfive of the inability of his fon's director, took him under his own care, 
 and fet him to defign and compofe hiftorical fubjects. He appeared particularly fond 
 
 of 
 
PER 
 
 f ii5 J 
 
 t>f the prints of Callot and Lc Clerc, from which he certainly had received confiderablc 
 improvement; but he was diverted from his attachment to thofe defigners, by perfons of 
 tafte and judgment, who reprefented to him, that the figures in thofe prints were too 
 minute for a young artift to ftudy ; and that it would conduce more to his advantage, to 
 form his hand by defignjng figures in a large than in a fmall fize. He learned after- 
 wards from Hans Graaf, at Vienna, the manner of defigning figures; but he preferred 
 Orient, a fine painter of landfcape, to Graaf, and lived with him for three years. 
 
 His tafte being thus fixed, by the afliftance of able mafters, and his own happy genius 
 being aided by conftant ftudy and practice, he gained the efteem of the beft judges, who 
 wifhed to detain him in Germany, as an ornament to his own country ; but his defire ta 
 travel induced him to quit Vienna in 171 8. He fpent fome time at the Court of 
 Bamberg, where his merit foon procured him admirers, riches, and credit; and after- 
 wards he vifited Drefden in company with Alexander Thiele, a very diftinguifheoT 
 landfcape-painter, in whofe pictures Ferg inferted the figures and animals, which added 
 extremely to their beauty as well as their value. 
 
 From Germany he went to London, where his extraordinary talents rendered him. 
 univerfally admired ; and in that city he might have lived in the higheft efteem,- affluence> 
 and honour, if, by an indifcreet marriage, he had not been fo effectually depreiFed, that 
 he was ever after involved in difficulties. The neceffities which arofe from his domeftic 
 troubles, compelled him to diminifh the prices of his paintings, to procure an immediate 
 fupport ; and as thofe neceflities increafed, his pictures were ftill more funk in their 
 price, though not in their intrinfic value. By a feries of misfortunes he was overrun 
 with debts, and purfued by his creditors ; but to prevent himfelf from falling into their 
 hands, he was conftrained to fecrete himfelf in different parts of London, fo that his 
 profecutors never difcovered him, till death put it out of their power to add to his 
 diftrelTes. 
 
 It is reported that he was found dead at the door of his lodging, apparently exhaufted 
 by cold, want, and mifery, to fuch a degree, that it feemed as if he had wanted ftrength 
 to open the door of his wretched apartment. 
 
 The ftyle of this mafter was much in the tafte of Berchem and Wouwermans ; his 
 tubjects were the amufements, feafts, or employments of peafants, and fometimes markets 
 in public ftreets, or on the ftiores ; he adorned his landfcapes with elegant ruins, felected, 
 and executed in a grand tafte ; and he was often fo exact, as to exprefs perceptibly the 
 difference between the hewn ftone and the poliftied furface of the marble. His colouring, 
 in his firft time, had all the force and ftrength of the Italian mafters ; but, when he had 
 ftudied nature with more deliberation, he avoided the appearance of being a mannerift, 
 and in his imitations adhered to that only which feemed to have the greateft truth. 
 His colouring is always fweet, clear, and agreeable, his touch light and delicate, his 
 compofition full of fpirit, and every figure hath expreflion and elegance. His defign is 
 correct; but his horfes have not the beauty, life, or correctnefs of Wouwermans, who 
 Was inimitable in the exactnefs of the outlines, actions, and attitudes of thofe animals. 
 
 F f 2 He 
 
[ 216 ] 
 
 FER 
 
 He etched well with aqua fortis, and his prints of that kind are fought for eagerly by 
 the curious. The greateft part of his works are in London and Germany; and they now 
 bear fuch a price, as is the moft infallible evidence of their real merit* 
 
 Whliam FERGUSON. 
 
 Painted Dead Birds and Still Life. 
 DIED ABOUT THE YEAR 169O. 
 
 He was a native of Scotland, who learned the rudiments of the art in his own country, 
 and fpent feveral years afterwards in Italy and France. The fubjects which he generally 
 painted were dead fowls, and particularly pigeons and partridges; and fometimes he 
 painted dead animals, as hares and rabbits, befides other objects of ftill life. 
 
 No painter in that ftyle could have a more neat pencil, nor finifh his pictures with 
 greater tranfparence. His objects, of whatever kind they are, have always abundance ot 
 truth and force, as nature was his perpetual model ; they are grouped with fingular eafe 
 and fkill ; and by his knowledge of the true principles of the chiaro-fcuro, he diftributed 
 his lights in a powerful, and frequently in a furprifing manner. 
 
 Nuzio FERAJUOLI. 
 Painted Landfcape. 
 
 This painter was a difciple of Luca Giordano, born in 1661 ; but his genius directed 
 him to the ftudy of landfcape painting, and enabled him to arrive at the greateft excellence 
 in it. Under that great maiter he learned to defign hiftorical figures, with remarkable 
 correctnefs ; and he adorned his own pictures with figures of an elegant defign, which he 
 difpofed with tafte and propriety. 
 
 He ftudied the different beauties of Paul Bril, Albano, Pouffin, Salvator Rofa, and 
 Claude Lorraine ; and, by a commendable ambition to imitate thofe admired artifts, he 
 formed a ftyle of his own, that was exceedingly agreeable ; and became univerfally admired 
 for the fweetnefs of his colouring, for his lovely fituations and diftances, for a pleafing 
 mixture of tendernefs and force, for the beauty of his fkies, and the tranfparence of 
 his waters. 
 
 Giovanni Andrea FERRARI, or de Ferrarai 
 
 Painted Hijlory^ Landfcape^ Animals, Fruity and Flowers. 
 
 DIED 1669, AGED 7O. 
 
 He was born at Genoa, in 1599, and was a difciple of Bernard Caftelli; but, in order 
 to obtain a more extenfive knowledge in his profeflion, he ftudied afterwards for fome 
 time under Bernardo Strozzi. c 
 
 3 ' His 
 
F E K 
 
 I 217 J 
 
 F E T 
 
 His application was attended with fuccefs, for he at laft attained to fuch a degree of 
 excellence, that he was equally expert in painting hiftory, landfcape, fruit, animals, and 
 flowers ; and thofe fubjects he finifhed in a fmall fize, but with extraordinary beauty and 
 exactnefs, fo that few of the Princes or Nobility of his time were fatisfied without 
 poffefling fome of his compofitions. 
 
 Benedetto Caftiglione was his difciple. 
 
 FERRATO SASSO. Vid. Salvi, 
 
 Ciro FERRL 
 
 Painted Hijiory. 
 DIED 1689, AGED 55. 
 
 This excellent painter was born at Rome, in 1634, and was a difciple of Pietro da 
 Cortona; in whofe fchool he very foon appeared in a diftinguifhed light, and fhewed that 
 he polTefled an elevated and noble genius. He was indefatigable in ftudy and in practice, 
 and uncommonly attentive to improve his mind by reading hiftory, facred and profane; by 
 employing his hand inceffantly in defign and colouring ; and alfo by treafuring up in his 
 memory every precept and obfervation of his ingenious mafter. 
 
 Thedefigns of Ciro Ferriare very correct, and his ordonnance is truly great; his tafte, 
 ftyle, ideas, compofition, and colouring, are entirely like Cortona ; of which he gave a 
 fufficient manifeftation, by finifhing one of that mafter's defigns, left imperfect in the 
 palace of Pitti at Florence ; and indeed his works are frequently taken for the hand of 
 Cortona. He had the fatisfaction to receive the higheft prices for his paintings, which 
 was a public acknowledgment of his merit; and he had alfo as much employment as he 
 could poflibly undertake or execute. His works, as well as his reputation, are fpread 
 through every polite part of Europe ; and they are a principal ornament of the churches, 
 the cabinets, and grand apartments of the firft Nobility. 
 
 By the Duke of Tufcany he was engaged in many confiderable defigns for cielings and 
 falons ; and he had the honour of being entrufted to finifh feveral noble compofitions 
 begun by Cortona; which he executed fo much to his mafter's honour, and his own, that- 
 the whole work appears to be only by one hand. 
 
 Do men 1 co FETI, or Fetti, 
 Painted Hijiory. 
 DIED 1624, AGED 35. 
 
 He was born at Rome, in 1589, where he became a difciple of Ludovico Cigoli; and 
 in many parts of his art had an abundance of merit. From Rome he went to Mantua ; 
 
 and 
 
F E V" 
 
 T I A 
 
 and having there obtained the patronage of the Cardinal Gonzaguc, who generouflv 
 fupported him, he applied himfelf affiduoufly to ftudy the works of Julio Romano j and by 
 that means acquired a beautiful tafte of defign, and a boldnefs in his characters, though he 
 never arrived at the correctnefs of that great genius. 
 
 There is a great deal of force in the works of Feti, yet he fometimes is too black ; 
 but he exprefled the paffions of the foul in a manner that was remarkably ftrong j arid had 
 a certain mellownefs in his colouring, which is extremely pleafing to a judicious eye. 
 Moft of his performances are eafel pieces, as he worked but very little for churches or 
 convents; yet his paintings are moft exceedingly fcarce, and are as eagerly fought after by 
 the connoifleurs. 
 
 Roland l e FEVRE. 
 
 Painted Portraits^ and naked Figures, 
 
 DIED 1677, AGED 69. 
 
 He is diftinguifhed by the name of Le Fevre de Venice j but he was in no great eflecm 
 cither for his attitudes or likenefles in portrait. He was accounted a better defigner than 
 painter, and was moft remarkable for his curious method of ftaining marble. 
 
 •Claude le FEVRE. 
 Painted Portraits^ Flowers^ and facred Subjects. 
 
 DIED 1675, AGED 42. 
 
 He was a native of France, born in 1633, who principally painted portraits, and was' 
 in much efteem among his own countrymen. He painied flowers extremely well, and 
 fometimes hiftorical fubjects ; but his greateft merit was in the former. However, he 
 followed his profeflion in London with good fuccefs, for feveral years, and died in 
 that city. 
 
 Domenico FIASELLA, called Sarezana. 
 Painted Portrait and Hi/lory, 
 DIED 1669, AGED 80. 
 
 He was born near Genoa, in 1589, and was called Sarezana, from the place of his 
 nativity. At firft he was .a difciple of Aurelio Lomi, and afterwards of Battifta Pagi; but 
 he went to Rome for his improvement, and there ftudied after the beft of the modern 
 mailers, and the ftatues of the ancients. By that judicious method he obtained an excellent 
 tafte of defign, which enabled him to paint in conjunction with Paffignano, and Giufeppe 
 D'Arpino, and to eftablifh a good reputation. However, his greateft excellence confifted 
 in painting portraits, which he executed with a remarkable juftnefs of character, and 
 with abundance of life. 
 
F I G 
 
 [ 219 ] 
 
 FLA 
 
 Giovanni da FIESOLE. Vid. Giovanni Angelic o. 
 
 Ambrogio FIGINO. 
 Painted Hijlory and Portrait, 
 
 DIED 1590. 
 
 This mafter was born at Milan, and was a difciple of Giovanni Paolo Lomazzo j but t 
 although he learned hiftorical compofition under his director, and was very well qualified 
 to expert fuccefs in that ftyle, yet he devoted his whole ftudy and attention to portrait- 
 painting, in which at laft he eminently excelled. Thofe fubjects he worked up to the 
 greateft perfection, as well for the refemblance, as for expreflion and colouring ; and it is 
 attefted by writers, that his pictures were valued at a very large price, the richeft Princes 
 of Italy exprefling an ambition to be perpetuated by his pencil. At Wilton, in the col- 
 lection of the Earl of Pembroke, there is a Defcent from the Crofs, painted by this mafter. 
 
 FIORAVANTL 
 
 Painted Still Life* 
 
 The fubjects which were painted by this artift, were carpets, vafes, mufical inftrumentsv 
 and fuch fort of objects ; and thofe he imitated with fo great truth and refemblance of 
 nature, fuch exactnefs of colour, fuch roundnefs and relief, that he was efteemed one of 
 the beft in his profeffion, in that ftyle of painting. 
 
 FIORI. Vid. Mario Nuzzi. 
 
 i Bertholet FLAMEEL, or Flamaei*. 
 
 Painted Hi/lory and Portrait, 
 
 DIED 1675, AGED 6l. 
 
 He was born at Liege, in 1614, and received his firft inftruction from one Trippes r 
 an indifferent painter ; but afterwards he was more effectually improved by Gerard 
 Doulfleit, who had juft returned to Liege from Italy. At the age of twenty-four he 
 travelled through Genoa, Milan, Florence, and feveral other cities of Italy j but his. 
 arrival at Rome amply recompenfed him for the labour of his journey. In that city he 
 ftudied to great advantage, and copied the beft works of the beft mafters; by which he- 
 acquired a. tafte fo elevated, that it diftinguifhed him throughout Rome, and recommended 
 him to the Court of Florence, to which he was honourably invited by the Grand Duke^ 
 and employed in feveral magnificent works, which eftablifhed him in the efteem of that 
 Prince, and procured, him general applaufe.. 5 
 
 After 
 
FL1 
 
 F L I 
 
 After nine years abfence, he returned to his native city; and to confirm the high 
 opinion which his countrymen had conceived of his abilities, he painted a Crucifixion for 
 the collegiate church of St. John, in which he introduced a prodigious number of figures, 
 officers, foldiers, and fpeclators ; yet the compofition is not confufed. 
 
 In the midft of wealth, poflefled of public and private efteem, and of every other 
 circumftance that could render life comfortable, he was feized with an unaccountable 
 melancholy and dejection of fpirits, which inceflanily oppreffed him, till it occafioned his 
 death ; and many perfons believed his diforder to have been occafioned by poifon admi- 
 niftered to him by one Brinvilliers, who had been his intimate companion. 
 
 This matter had an excellent genius, a lively imagination, and a noble tafte for hiftorical 
 compofitions. He was fingularly (killed in antiquities, and in all his defigns ftrictly 
 obfervant of the coftume. His pictures ufually are enriched with porticos and colonnades, 
 as he was an accomplished architect, ; his choice of nature was elegant, his expreflion 
 lively, and his pencil delicate. His colouring was exceedingly good; and his tafte of 
 defign was entirely of the Roman fchool, as well in regard to correctnefs, as to the objects 
 which he chofe to reprefent. 
 
 In the cupola of the barefooted Carmelites, at Paris, he painted, in frefco, Elijah 
 afcending to Heaven in a Chariot of Fire, and Elilha below, with his arms extended, to 
 catch the mantle of the Prophet. At Liege are feveral grand altar-pieces, among which 
 one in St. Paul's church defcribes the Converfion of that Saint; and in the cathedral 
 there is another by this mafter, reprefenting the Refurreclion of Lazarus, 
 
 Govert FLINK. 
 Painted Portrait and Hi/lory, 
 
 DIED l6l6, AGED 44. 
 
 He was born at Cleves, in 1616, and by the appointment of his father was to have 
 been bred up in a mercantile way; but neither the influence of his friends, nor the 
 profpect of making an immenfe fortune, could prevail with him to abandon the art of 
 painting, to which from his earlieft youth he felt an invincible inclination* He was firft 
 placed with Lambert Jacobs ; under whom he made an extraordinary proficiency, by being 
 ftudioufly diligent, by having a ftrong natural genius, and alfo by being emulous to excel 
 Backer, who happened to be a difciple of Jacobs at the fame time. When he quitted his 
 mafter, he went to Amfterdam, and entered himfelf in the fchool of Rembrandt ; where 
 he became fo thoroughly captivated with the excellencies of that great artift, that he 
 ftudied the ftyle of compofition, the manner of colouring, and the penciling of Rembrandt 
 inceflantly ; and at laft fhewed himfelf not only a good imitator of him, but in fome 
 refpects his equal, and in freedom of hand rather his fuperior. 
 
 Very foon he rofe into high reputation, and was almoft continually employed in painting 
 •the portraits of princes, and illuftrious perfonages, although his genius was abundantly 
 
 more 
 
FLO 
 
 [ 221 ] 
 
 FLO 
 
 .more inclined to paint hiftorical fubjects; and feveral of his performances in that ftyle 
 were admired for the goodnefs of the defign, and the beauty of the colouring. He 
 remarkably excelled in imitating the manner of Rembrandt, and many of his paintings 
 are fold, at this day, for the work of his mafter. 
 
 But, as the Italian tafte began to be more noticed by the Flemifh artifts, and much 
 more efteemed after the death of Rembrandt, Flink took great pains to alter his firft 
 manner. For which purpofe he made a large collection of the fineft cafts that could be 
 procured from Rome ; of the beft drawings and defigns of the artifts of Italy ; as alfo 
 of feveral of their paintings ; and thofe he made his principal ftudies. When he 
 imagined himfelf to be competently improved, he finiflied a noble defign for the great 
 hall of the Senate-Houfe at Amfterdam, reprefenting Solomon praying for wifdom j 
 in which his difpofition, and manner of grouping the figures, appear excellent, and 
 the tone of the colouring is ftrong and lively. He like wife painted a grand hiftorical 
 com poll tion for the Artillery Company at Amfterdam, confifting of portraits of the moft 
 diftinguifhed perfons of that body. The figures were well difpofed, and every part of 
 the picture was painted by Flink, except the faces, which, at Flink's recommendation, 
 were painted after the life by Vander Helft. 
 
 He died young, and much regretted; and, after his death, his collection of prints and 
 drawings were fold for twelve thoufand florins. It is obferved, that in the painting- 
 room of this mafter, the light was admitted from above, through a kind of dome. 
 
 Stephano FLO RENTING. 
 
 Painted H'tjlory, 
 
 DIED 1350, AGED 49. 
 
 This very ancient mafter was born at Florence, in 1301, and became the difciple of 
 -Giotto; but he ftudied at Rome after the antiques, and employed himfelf particularly in 
 defigning heads and naked figures. By which means he acquired the habit of giving a 
 a great variety of attitudes to his figures, as well as a natural and ftrong expreflion, and 
 agreeable airs to his heads. As he had obferved in the defigns of other mafters, a 
 confiderable defect arifing from the encumbrance of draperies, which too much concealed 
 the limbs of the figures, he ftudied to mew the naked under its covering, and he is 
 accounted the firft of the modern painters who attempted that manner. 
 
 He had a fruitful invention, and defigned with extraordinary readinefs and freedom, in 
 which refpect he was fuperior to Giotto, or any of his cotemporaries, according to the 
 judgment of Vafari ; and it is an addition to the fame of Stephano, that he practifed 
 perfpective with a greater degree of regularity than any other artift in that early age of 
 painting. 
 
 At Pifa he finifhed, in frefco, the Transfiguration; in which the draperies of the Apoftles 
 are diftributed in fuch folds as difcovered the polition of the limbs ; a circumftance, 
 which at that time was confidered as a new and elegant difcovery, unattempted by any 
 
 G g preceding 
 
FLO 
 
 [ 222 ] 
 
 FLO 
 
 preceding painter. And, in another defign, defcribing the difpoflefling of the Lunatic, 
 he introduced a building and a range of columns, apparently formed according to the 
 rules of perfpe&ive, of which few or none of his predeceflbrs had any diftin£l 
 conception. 
 
 Francis FLORIS, called the Raphael of Flanders. 
 Painted Hi/lory. 
 
 DIED I57O, AGED 50. 
 
 He was born at Antwerp, in 1520, and till the twentieth year of his age praftifed is 
 a fculptor; but having a fuperior fondnefs for painting he changed his profeffion, and 
 placed himfelf under the direction of Lambert Lombard; whofe manner he always 
 followed, and imitated him fo well, that it is no eafy matter to diftinguiih the work of 
 one artift from the work of the other. When he had continued for fome years with 
 Lambert, he travelled to Rome, and there defigned after the antiques ; but principally 
 ftudied the works of Buonaroti, and in particular his Laft Judgment, which he copied in 
 a free and bold manner, his contours being finely marked ; and thofe defigns which he 
 made at Rome, although often too {harp, and divided into too many minute parts, were 
 notwithftanding often very delicate. 
 
 At his return to Antwerp, he furprifed the artifts of his time by his tafte of defign, 
 which was much more correct, and by his manner of compofition, which was very 
 different from the manner of his countrymen; and his performances gained him the honour 
 of being called the Raphael of Flanders. His works at that time were in great efteem, 
 he grew rich, and might have been continually employed by moft of the Princes of 
 Europe, if his love of exceflive drinking had not funk him into contempt. 
 
 He generally gave great roundnefs to his figures; and though they were fo well handled 
 as to bear a near infpection, yet, at a diftance, new beauties are frequently to be difcovered. 
 His readinefs of hand was remarkable, and his pencil feemed as quick as his invention ; 
 of which he gave an inconteftable proof at the entry of Charles V, into Antwerp; 
 for, being engaged to paint the triumphal arches for that grand ceremony, and having 
 feven figures as large as life to finifh in one day, he executed that number in feven 
 hours. 
 
 In the Confraternity-hall of St. Michael, at Antwerp, there is a noble defign of 
 Francis Floris. The fubject is the Fall of Lucifer ; and it is highly celebrated for the 
 goodnefs of the compofition and handling, for the variety of attitudes in the Fallen Angels, 
 and for the ftrong expreflion of the mufcles in the naked figures. Every part of it 
 contributes to give the beholder a grand idea of the merit of the mafter, the extenfivenefs 
 of his genius, and the livelinefs of his imagination. And in the fame church is preferved 
 an Afl'umption of the Virgin, no way inferior to the other, either in defign or colouring, 
 and the draperies are well caft. 
 
 He 
 
F O N 
 
 [ 223 3 
 
 F O N 
 
 He had a bold and ftrong manner, like the model he chofe to imitate, and was apt, like 
 Buonaroti, to make the mufcular parts too full ; but his tone of colouring was very pleafing. 
 He invented and compofed with eafe ; but he had fomewhat dry in his manner, and his 
 figures have a certain ftiffnefs, though they alfo frequently have an agreeable turn. 
 
 Prospero FONTANA. 
 Painted Hijlory. 
 
 He was born at Bologna, in 151 2, and derived his knowledge in the art of painting 
 from Innocenzio da Imola. He was accounted to have a fine invention, and his tafte of 
 defign was elegant ; but the molt remarkable honour he acquired, arofe from his being 
 the matter of the two moll celebrated painters of their age, Ludovico and Annibal 
 Caracci. 
 
 He underftood perfpective thoroughly, and his ufual fubjec"ts were hiftories taken from 
 facred and profane authors, with which he adorned many churches and chapels of Bologna, 
 and other cities of Italy. 
 
 Lavinia FONTANA. 
 Painted Portrait and Hijlory, 
 
 DIED l602, AGED 50. 
 
 This paintrefs, the daughter of Profpero Fontana, was born at Bologna, in 1552, and 
 learned the art of painting from her father. Her inclination led her principally to paint 
 portraits ; and having obtained the honour of painting that of Pope Gregory XIII. (he 
 fucceeded fo well, as to obtain the patronage of that eminent perfon. 
 
 She was accounted to have a very high degree of merit in her profeflion ; and being 
 favoured by the Pope, fhe had an abundance of employment from all the Nobility of 
 Rome. She alfo painted hiftorical fubjects with extraordinary applaufej for it was 
 confidered almoft as a prodigy, to fee fuch lovely and natural colouring, fuch a tafte of 
 compofition, and fuch expreffion in the works of a female artift. 
 
 However, fhe happened to fail of fuccefs in one grand hiftorical fubjecl:, which made 
 her determine to paint only portraits for the future, and in that ftyle fhe had no 
 competitor. 
 
 John Baptist Blain de FONTENAY. 
 Painted Flowers and Fruit. 
 
 DIED I715, AGED 6l. 
 
 He was born at Caen in Normandy, in 1654, and was taught the art of painting by 
 John Baptift Monnoyer. He painted fruit, flowers, and infects, extremely well } and 
 
 G g 2 his 
 
FOR [ 224 ] FOR 
 
 his general manner was, to paint vafes ornamented on the fides with figures in bas- 
 relief. Thofe vafes he likewife decorated with feftoons of flowers in an elegant tafte. 
 and grouped them with a great deal of judgment. He was much employed by Lewis XIV. 
 particularly at the Gobelins, and died in the fervice of that Monarch. 
 
 Girolamo FORABOSCO. 
 
 Painted Hijiory and Portrait. 
 
 He was born at Venice, about the year 1600, and was efteemed an admirable artiil, 
 as well for the lively and natural tint of his colouring, as for his exquifite touch and 
 freedom of hand. 
 
 He was particularly remarkable for one excellence, which was, that with a fingle call 
 of his eye, on any perfon whofe portrait he intended to draw, he could, by the power of 
 of his imagination and the ftrength of his memory, draw it fo exceedingly like, as to- 
 have that perfon known at the firft fight. His paintings were fo furprifingly coloured- 
 and finiftied, that they were faid to be worked by magic. Several hiftorical compofitions, 
 and fome of his portraits, are preferved in Venice as curiofities. The laft of his 
 performances which are mentioned, are a portrait of the Doge Contarini, painted in 
 1655, and another of the Doge Pefaro, in 1659. 
 
 In the Palazzo Sagredo at Venice^ among a great number of capital paintings by the 
 beft matters, there is an old man's head, which feems to be a portrait of fome perfon of 
 eminence, painted by Forabofco; and it is in every refpect admirable, as to colouring,, 
 finifhing, and character, full of nature, truth, and expreffion. 
 
 John Baptist FOREST. 
 Painted Landfcape and Hijiory. 
 
 DIED 1712, AGED 76. 
 
 He was born at Paris in 1636, the fon of a painter, who taught him the rudiments of the 
 art ; but, being not far advanced in the knowledge of his profelTion, by thofe inftru&ions 
 which he received at home, and alfo being very defirous to obtain farther improvement, 
 he went to Rome, and placed himfelf as a difciple with Francefco Mola. 
 
 He ftudied diligently, and formed his tafte of landfcape on the manner of his mafter ; 
 but although he had, in fome particulars, a confiderable fhare of merit, yet he proved 
 very far inferior to his model. His trees were defigned and touched in a mafterly ftyle, 
 and moft of his fituations and fcenes v/ere taken from nature ; but his colouring was by 
 no means agreeable,, being, often too black, though his penciling was free and 
 very bold. 
 
 Charles 
 
F O S 
 
 C 225 3 
 
 F O U 
 
 Charles la FOSSE. 
 Painted Hi/lory and Landfcape. 
 
 DIED 1716, AGED 76. 
 
 This painter was born at Paris in 1640, where he became a difciple of Charles Le 
 Brun; but when he had been directed by that mafter for fome years, by the bounty of 
 Lewis XIV. he was enabled to vifit Italy, and fmiftied his ftudies at Rome and Venice. 
 He had not as much fuccefs in acquiring correctnefs, and a true elegance of tafte in 
 defign in the Roman fchool, as he had in improving his ftyle of colouring in the Venetian ; 
 for thofe mafters which he particularly endeavoured to imitate were, Titian and Paolo 
 Veronefe, and by attending to their works, he became a good colourift, and rofe into 
 efteem. 
 
 He was always fond of grand compofitions, and his abilities in that way procured him 
 confiderable employment in the Royal Palaces, and among the Nobility of France ; and 
 in London, he adorned Montague-houfe with fome of his compofitions, in conjunction 
 with Baptift and RoufTeau. The defigns of two cielings painted by La Foffe, are the 
 Apotheofis of Ifis, and an Affembly of the Gods. 
 
 Though he was confiderably employed at Verfailles, Trianon, and Marly, yet he 
 wanted grandeur in his tafte, and correctnefs in his defign ; his ftyle of compofition is 
 rather heavy and loaded; his figures ufually are too fhort, and his draperies but indiffe- 
 rently caft. The principal merit of La Foffe confifts in his colouring, as in that parti- 
 cular part he aimed at an imitation of Veronefe and Rubens ; yet even his colouring had 
 but a very remote refemblance to that look of nature, which is always obfervable in. 
 the works of thofe great artifts. 
 
 James FOUQ.UIERES. 
 
 Painted Landfcape. 
 
 DIED 1659, AGED 79. 
 
 He was born at Antwerp in 1580, and at firft was a difciple of Jodocus Momperf^ 
 but afterwards of John Brueghel, called Velvet Brueghel : however, he formed to himfelf 
 a manner more true than that of his mafter, and more like nature, though much lefs 
 highly finifhed. He became an incomparable painter of landfcape; and, by fome good 
 judges, his pictures are confidered as being worthy of ftanding in competition with 
 thole of Titian ; the principal difference confifting in the difference of their fcenery, 
 rather than in any difparity of colouring or handling. Both artifts painted on the fame 
 principles, and they both had a tone of colouring which was true, regular, and very 
 natural. 
 
 The genius of Fouquieres was excellent ; his figures were correctly defigned, and in 
 an elegant tafte ; and he introduced them in his landfcapes with abundance of grace and 
 probability. He painted equally in a large and a fmall fize ; he ftudied and imitated 
 
 2 nature 
 
F O U 
 
 [ 226 ] 
 
 F R A 
 
 nature happily ; and his paintings fhew a fine effect, a great deal of force, and a propor- 
 tionable degree of judgment j though fometimes he is thought to be a little too green in 
 his landfcapes. 
 
 He was engaged, and much careffed, at the Court of the Elector Palatine, and after- 
 wards fpent feveral years of his life in France j where his works met with univerfal appro- 
 bation, and he was proportionably well paid for his paintings. Yet, by fome mifconduct, 
 he funk into poverty, and died in the houfe of an inconfiderable painter, named Silvain, 
 who lived in the fuburbs of Paris. 
 
 He had refided for feveral years at Rome and Venice, where he acquired that excellent 
 ftyle of colouring and defign for which he is fo defervedly diftinguifhed. 
 
 Bertram de FOUCHIER. 
 
 Painted Portraits and Converfations. 
 
 DIED 1674, AGED 65. 
 
 He was born at Bergen-op-Zoom, in 1609; and having difcovered an early genius to 
 painting, his father placed him as a difciple with Anthony Vandyck, at Antwerp. But 
 that mailer not having fufficient leifure to attend to the careful inftruclion of his pupils, 
 by his inceffant employment, Fouchier went to Utrecht, and ftudied under John Bylart, 
 with whom he continued for two years. 
 
 When he found himfelf competently advanced in his knowledge of the art, under thofe 
 rnafters, he travelled to Rome ; where he ftudioufly examined the curious productions of 
 ancient and modern artifts, and attached himfelf to the tafte of Tintoretto, both in 
 compofition and colouring. It is highly probable that he would have reaped confiderable 
 advantage by his ftudies at Rome, as he wanted neither abilities nor affiduity, if he, 
 and his friend Yfendoren, had not been compelled to fly from that city, and retire to 
 Florence; being threatened by fome of the inquifitors to have them punifhed as 
 heretics. 
 
 When he returned to his own country and followed his profeflion, he foon perceived 
 that the manner of Tintoretto, in which he painted, was not as acceptable to his 
 countrymen, as it had been in every part of Italy through which he had travelled; he 
 therefore changed it entirely, and aflumed the ftyle and manner of Brouwer, in which he 
 had extraordinary fuccefsj and his compofitions in that way were held in very great 
 efteem. 
 
 Antonio F R A N C H I. 
 Painted Portrait and Hijlory. 
 
 DIED I709, AGED 7 1. 
 
 He was born at Lucca, in 1638, and was at firft a difciple of Pietro Paolini, a painter 
 of very good account in that city j but when he had ftudied for fome time under him, he 
 
 3 preferred 
 
F R A 
 
 L 22 7 ] 
 
 F R A 
 
 preferred the ftyle of Rofelli and Pietro da Cortona to that of his mafter, and made their 
 works the objects of his moil ftudious attention ; yet, from a defire to improve himfelf 
 ftill farther, he went to Florence, to place himfelf under the direction of Baldaflare 
 Francefchini. There he acquired a fine tafte of defign, correctnefs of outline, a lovely 
 and natural tint of colouring, and rendered himfelf a diftinguiflied painter both of 
 portrait and hiftory. 
 
 At Florence he was employed to paint the pictures of the Grand Duke and Duchefs ; 
 and by the latter was honoured with the title of being her principal painter. Several of 
 the chapels in that city have their altar-pieces painted by him; and moft of the Nobility 
 employed him, not only for their portraits, but for hiftorical compofitions. 
 
 Pietro della FRANCESCA, d a i, Borgo San Sepulchro. 
 Painted HiJJory, Battles, Portraits, and Night-Pieces. 
 
 * DIED I458, AGED 86. 
 
 He was born at Florence, in 1372; and at the time when he flourifhed, his works 
 were highly efteemed j though afterwards two of his beft performances, which were 
 painted in the Vatican by order of Pope Nicholas V. were taken down by Julius II. to 
 make room for two others which were painted by Raphael, of which the fubjects were 
 St. Peter in Prifon, and the Miracle of Bolfena. 
 
 The battles of this ancient mafter have uncommon fpirit in the attitudes of his horfes, 
 as well as of his figures ; each of them have good action, good expreffion, and a very 
 judicious difpofition. Moft of his paintings are in Florence, Rome, and Arezzo. One 
 of the moft celebrated of his compofitions, is a Night-Piece, in which he reprefents the 
 Emperor Conftantine as afleep in his pavilion, attended by his Chamberlain, and a few 
 of his guards ; and an angel appearing to him as in a virion, mewing him that fign under 
 which he mould fight and conquer.. The light is diffufed from the angelic glory, and 
 diftributed with the utmoft judgment; fo that the whole had a fine effect, and every thing 
 preferved the appearance of truth and nature. 
 
 He was an author as well as an artift, and wrote feveral treatifes on geometry, and 
 other branches of the mathematics, which are repofited in the library of the Duke of 
 Urbino. 
 
 Marc Antonio FRANCE'SCHINL 
 
 Painted Hiftory, 
 
 DIED I729, AGED 8l. 
 
 He was born at Bologna, in 1648, and was a difciple of Ferdinand Galli, called 
 Bibiena ; but he ftudied after the naked in the academy, and there gave early proofs of 
 
 his 
 
 * The authors of the Chronological Tables fix his death in I443> at the age of 705 but Vafari fays he died in 1458* 
 at the age of 86. 
 
F R A 
 
 [ 228 ] 
 
 F R A 
 
 his ability and execution. When he had continued under Bibiena for three years, he 
 determined to improve himfelf by ftudying the works of thofe painters, who are juftly 
 placed in the firft rank. But difcreetly confidering that, in his future ftudies, he fhould 
 ftand in need of a competent guide, to direct him to choofe what might be moft worthy 
 of his notice, and avoid what might be detrimental, he refolved to place himfelf under 
 the care of Carlo Cignani. 
 
 That mafter, who foon difcerned the talents of his pupil, took pains to form him to an 
 elegant tafte of compofition, correcfnefs of defign, and goodnefs of colouring. To 
 confirm his judgment, he fet before him feveral models of human figures, which had 
 been wrought by different mafters of eminence, that he might habituate his eye to what 
 was truly beautiful and elegant in each. By that method of inftruction, aided by genius 
 and amduity, Francefchini became an excellent artift, in frefco as well as in oil, being 
 equally applauded for his correct defign, and his admirable colouring in the manner of 
 Cignani. 
 
 lie was employed in embellifhing many churches and convents, in his native city 
 Bologna, and in other parts of Italy; and particularly at Modena, he painted the grand 
 hall of the Duke's palace, fo much to the fatisfaction of that Prince, that he wifhed to 
 retain him at his court by an offer of a large penfion, and fuch honours as were due to 
 his uncommon merit. But Francefchini preferred his freedom and eafe to the greateft 
 acquifitions ; and, with polite refpect, refufed the offer. At Genoa he painted, in the 
 great Council-Chamber, a defign that at once manifefted the fertility of his invention, 
 and the grandeur of his ideas ; for moft of the memorable actions of the Republic were 
 there reprefented, with a multitude of figures, nobly defigned, judicioufly grouped and 
 difpofed, and correctly drawn. And in the Palazzo Monti, at Bologna, is a fmall gallery 
 painted by him, of which the colouring is exceeding lovely, though the figures appear to 
 want roundnefs ; but his defign is always correct, and truly excellent. 
 
 His figures had as much of nature and truth as could be defcribed ; and, in all his works, 
 one fees a prevailing elegance, united with a great force of colour, and great fweetnefs. 
 No painter feems to have comprehended the beautiful forms of nature better than Fran- 
 cefchini, nor to have expreffed the paffions of the foul with more exactnefs and truth. 
 He preferved the powers of his mind and his pencil unaltered, at a very advanced age j 
 and when he was even feventy-eight years old, he defigned and coloured his pictures 
 with all that fire and fpirit for which he had been diftinguifhed in his beft time. 
 
 Baldassare FRANCESCHINI, called Volterrano. 
 
 Painted H.ijhry, Landfcape, and Portraits. 
 
 DIED 1689, AGED 68. 
 
 He was born at Volterra, in 1621, and derived his firft knowledge of the art of 
 painting from Matteo Sorella ; but afterwards he became a difciple of Rofelli, and fuccefs- 
 fully imitated the graceful tafte of defign, as well as the colouring and penciling of that 
 
 great 
 
F R A 
 
 [ 229 j 
 
 FRA 
 
 great mafter. However, having obferved fomewhat ftill more engaging in the colouring 
 of Giovanni da San Giovanni, he ftudied under him for fome time, and at laft completed 
 his knowledge, by carefully copying the works of Correggio at Parma. 
 
 He was employed in a vaft number of grand defigns for religious houfes and chapels; 
 and was allowed to have a fine invention, either for hiftorical or poetical fubjects, a fenfible 
 and ftrong expreffion, and an agreeable manner of colouring. 
 
 He alfo painted portraits in a noble ftyle; and his landfcapes were univerfally admired 
 for the delightful fituations which he chofe, and the elegance of his figures, which art: 
 always introduced with Angular judgment and propriety. 
 
 FRANCESCHINO. Vid. Caracci Francesco. 
 
 FRANCESCO, called Franceschiello della Mura. 
 
 Painted Hi/lory. 
 
 He was the difciple of Solimena, and fpent feveral years under his direction; but although 
 he had fo admirable an example and inftructor, he did not acquire many of the excellencies 
 of that mafter. His manner of defign was correct, and his touch fpirited ; yet his colouring 
 was but indifferent, and, though not difagreeable, it had no great effect. 
 
 Three paintings by this mafter are in the principal church at Capua; but the moft 
 considerable of them is the grand altar-piece, reprefenting the Annunciation, which hath 
 many imperfections, though feveral parts are worthy of commendation. The attitudes 
 and drefs of his figures fliew ingenuity and elegance; the folds of the draperies are large 
 and full, and the groupes are well connected; yet the whole colouring is rather too gaudy, 
 and too much like fan-painting, a defect very frequently obfervable in the works of other 
 modern Italian artifts. 
 
 Francesco FRANCIA. 
 Painted Hiftory and Portrait. 
 
 DIED I518, AGED 68. 
 
 The real name of this ancient mafter was Francefco Raibolini, though he was generally 
 called Francia. He was born at Bologna, in 1450, and was at firft bred to the trade of a 
 goldfmith; but his genius directed him to painting, in preference to every other profeflion; 
 and, by a conftant application and ftudy, he arrived at a great degree of perfection in the 
 art, fo as to be efteemed one of the beft painters of his time. 
 
 As he happened to be a cotemporary with Raphael, he coveted impatiently to fee the 
 works of that fublime genius; but his age and infirmities difqualified him for taking a 
 journey to Rome. Yet at laft he had an opportunity of gratifying his curiofity; for 
 Raphael had painted a St. Cecilia for the church of St. Giovanni in Monte, at Bologna, 
 
 H h and 
 
F R A 
 
 C 230 3 
 
 F R A 
 
 and wrote a friendly letter to Francia, requefting him to fee it fixed in its appointed 
 place. The letter was received with a degree of rapture not to be defcribed, and the 
 picture with all pofiible expedition taken out of its cafe; but the fight of fo much 
 perfection in defign, grace, exprefiion, and exquifite finifhing, ftruck Francia with fuch 
 aftoniftiment, that it threw him into an invincible melancholy, as that fingle performance 
 convinced him how far Raphael was fuperior, not only to himfelf, but to all others; and 
 he pined himfelf into a decay, which occafioned his death. 
 
 The reputation of this mafter was eftablifhed by a picture of St. Sebaftian; in which 
 the true and elegant proportion of the limbs, the gracefulnefs of the attitude, and the 
 delicacy of the colouring, were equally admired; and it was very highly commended by 
 Annibal Caracci, who was indifputably a competent judge of merit. 
 
 FRANCIS QJJ E. Vid. Francesco Mile. 
 
 Franciscus FRANCKEN, or FRANCKS, called, the Old Franck. 
 
 Painted Hijlory. 
 
 DIED l6l6, AGED 72. 
 
 Very few circumftances relative to this mafter are handed down by hiftorians who treat 
 of this fubjedt, although his works are as generally known in thefe kingdoms, as they are 
 in the Netherlands: nor are the dates of his birth, death, or age, thoroughly afcertained ; 
 for Mr. Defcamps fuppofes him to be born in 1544.) to be admitted into the Society of 
 Painters at Antwerp in 1561, which was at feventeen years of age ; and he fixes his death 
 in 1666, by which computation Francks muft have been 122 years old when he died, which 
 appears utterly improbable; though others fix his birth in 1544, and his death in 1616, 
 aged 72, which feems to be neareft the truth. 
 
 This mafter painted hiftorical fubjects taken from the Old or New Teftament, and was 
 remarkable for introducing a great number of figures into his compofitions, which he had 
 the (kill to exprefs very diftinctly. He had a fruitful invention, and compofed readily ; 
 but he wanted grace and elegance in his figures, and was apt to crowd too many hiftories 
 into one fcene. His touch was free, and the colouring of his pictures generally tranfparent ; 
 yet a predominant brown or yellowifti tinge appeared over them, which neither looked 
 natural nor agreeable. But, in feveral of his beft performances, the colouring is clear 
 and lively, the defign good, the figures tolerably correct, and the whole together very 
 pleafing. 
 
 Vandyck often commended the works of this mafter, and efteemed them worthy of a 
 place in any collections. Many of them are frequently feen at public fales, which render 
 him well known, though feveral are alfo to be met with in thofe places, which are unjuftly 
 afcribed to Francks, and are really unworthy of him. 
 
 Franciscus 
 
 r 
 
FR A 
 
 f 231 3 
 
 F R A 
 
 Francis cus FRANCKEN, or FRANCKS, called the Young Franck. 
 
 Painted Hijiory. 
 
 DIED 1642, AGED 62. 
 
 He was the fon of the old Francifcus Francks, born in 1580, and inftructed in the art 
 of painting by his father, whofe ftyle and manner he imitated in a large and fmall fize; 
 but when he found himfelf fufficiently Ikilled to be capable of improvement by travel, he 
 went to Venice, and there perfected his knowledge of colouring, by ftudying and copying 
 the works of thofe artifls who were moft eminent. And it hath feemed furprifing that a 
 painter fo capable of great things in his profeffion, mould devote his pencil to the repre- 
 fentation of carnivals, and other fubjects of that kind, preferably to the defigning hiftorical 
 fubjects of a much higher rank, which might have procured for him abundantly more 
 honour. 
 
 However, at his return to Flanders, his works were greatly admired and coveted, being 
 fuperior to thofe of his father in many refpects; his colouring was more clear, his pencil 
 more delicate, his defign had fomewhat more of elegance, and his expreffion was much 
 better. The tafte of compofition was the fame in both, and they feemed to have the fame 
 ideas, and the fame defects, multiplying too many hiftorical incidents into one fubject, and 
 reprefenting a feries of actions, rather than one principal action or event. The fubjects 
 of both painters were ufually taken from the Old and New Teftament, and alfo from the 
 Roman hiftory (except the fubjects of young Francks while he continued in Italy); and it 
 might have been wifhed that each of them had obferved more order and propriety in the 
 difpofition of their fubjects. 
 
 He had a great particularity in touching the white of the eyes of his figures, which 
 appears as if a fmall lump of unbroken white was touched on, with the point of a 
 fine pencil, and it gives the figures a great deal of fpirit. Even that particularity, well 
 attended to, may be a means of determining the hand of this mafter. It ought to be 
 obferved, that from the fimilarity of names, tafte, ftyle, and colouring of the Old and 
 Young Francks, their works are often miftaken, and mifcalled, and the work of the one 
 purchafed for the work of the other. The moft capital performance of this painter, is a 
 fcriptural fubject in the church of Notre Dame at Antwerp; and an excellent picture, in 
 the fmall fize, is Solomon's Idolatry, in which that King is reprefented as kneeling 
 before an altar, on which is placed the ftatue of Jupiter. There is a noble expreffion in 
 the figure of Solomon, and the drapery of the figure is broad and flowing; the altar is 
 exceedingly enriched with fine bas-relief in the Italian ftyle, and is exquilitely finifhed; 
 the penciling is neat, the colouring clear and tranfparent, and the whole picture appears 
 to have been painted on leaf gold. 
 
 Sebastian FRANKS, or Vranx. 
 Painted Conventions^ Hijiory^ Land/capes^ and Battle-Pieces, 
 He was born at Antwerp, in 1573, and was a difciple of Adam Van Oort, and (hewed 
 a ftrong genius to painting. His general ftyle was landfcapes with fmall figures and 
 
 H h 2 cattle, 
 
F R A 
 
 C 232 J 
 
 F R A 
 
 cattle; and according to Van Mander, he feems to have been the author of a peculiar 
 ftyle of painting in that way, which was imitated by feveral fubfequent matters, but not 
 with equal fuccefs. 
 
 He frequently painted hiftorical fubjects on copper; and the fubject of one of thofe, 
 which was executed with extraordinary neatnefs, was the prophet Elifha infulted by the 
 children: the outline of his figures in that compofition is correct, the attitudes are agree- 
 able, and the draperies loofe. He had a peculiar genius to paint battles, and fucceeded well 
 in all fubjects where horfes could be introduced; but his chief merit was feen inhisland- 
 fcapes, as he had a light touch, and an agreeable ftyle of colouring. Two fine pictures 
 of this matter's hand are in the cabinet of the Elector Palatine ; the one reprefents the 
 works of mercy, and the other is a conversion. 
 
 John Baptist FRANKS, or Vranx. 
 Painted Hijiory and Converfations. 
 
 This painter was born at Antwerp, in 1600, and is fuppofed to have been the fon 
 and difciple of Sebaftian Franks. At firft he painted in the manner of his father ; but 
 having afterwards ftudied the works of Vandyck and Rubens, he made them his models, 
 and by that means corrected his ftyle, and improved his colouring confiderably. 
 
 For a long time he painted hiftory; but after finiftiing feveral compofitions of that 
 kind, he painted eafel pictures, reprefenting the infides of galleries, or grand apartments, 
 furnifhed with ftatues, buftos, paintings, and other elegancies; with perfons differently 
 employed either in converfation, at play, or with concerts of mufic. Thofe fubjects he 
 defigned extremely well ; his colouring, was agreeable^ and he finifhed his works with a 
 neat and delicate pencil ; but his error was, that he did not judicioufly diftribute his light 
 and fhadow, fo as to afford a pleafing repofe to the eye of a fpectator; but gave the 
 whole too equal a degree of brightnefs. 
 
 His beft performance is defcribed by Houbraken, . as being truly excellent in its kind. 
 It reprefents a grand apartment, or cabinet of a curious perfon, decorated with butts, 
 and other ornamental furniture elegantly difpofed ; and arranged along the wall, are 
 pictures hung up, which are fo admirably finifhed x that the different tafte of thofe 
 matters whofe works are fuppofed to be there, may at firft fight be diftinguiflied by the 
 peculiar defign, compofition, and colouring. There are only two figures in that apart- 
 ment, Vandyck and Rubens, who feem to be engaged in playing at tables; and it is 
 exceedingly commended for the ftriking likenefs of thofe ariifts, as alfo for the delicacy, 
 of the touch.. 
 
 Bat t ist a FRANCO. 
 Painted Hijiory. 
 
 DIED 1 561, AGED 63. 
 
 He was born at Venice, in 1498 j and having learned to draw and defign, under the 
 direction of fome Venetian artifts, till he was twenty years old, he then travelled to 
 
 2 Romej 
 
F R A 
 
 [ 233 ] 
 
 F R A 
 
 Rome ; where having examined and confidered the works of the moft applauded mafters, 
 he devoted himfelf entirely to the ftyle and tafte of Michael Angelo Buonaroti j and at 
 laft was allowed to be the beft of the young defigners who frequented the chapel that 
 had been enriched by the compofitions of that great painter. 
 
 However, although his manner of defigning was like that of Buonaroti; and though 
 he imitated him fuccefsfully in correctnefs of outline, and in a ftrong expreflion of the 
 mufcular parts of the human body; yet, in his colouring, he was fo dry, fo black, and fo 
 hard, that his pictures feemed to have no other merit to recommend them, than the tafte 
 of drawing and defign, which, in particular parts, appeared very mafterly. 
 
 Lucas FRANCOIS, called the Old. 
 Painted Hijiory and Portrait. 
 
 DIED 1643, AGED 69. 
 
 He was born at Mechlin, in 1574, and for fix years was employed by the Kings of 
 France and Spain ; in which kingdoms many excellent paintings of his hand are ftill 
 preferved and well efteemed. He was equally eminent for hiftory and portrait ; and, by 
 his profeflion, was enabled to live in affluence, and to die poflefted of riches, with 
 an eftabliflied reputation* 
 
 Lucas FRANCOIS, called the Young. 
 Painted Hiftory and Portrait. 
 
 DIED 1654, AGED 48. 
 
 He was born at Mechlin, in 1606, and was the fon and difciple of Lucas Francois, 
 who inftructed him early in the art of painting, and took all poflible care to cultivate the 
 promifing talents of his fon. He made a great progrefs under the direction of his 
 father ; but as fbon as he had acquired a competent mare of knowledge, he placed 
 himfelf as a difciple with Gerard Segers, who was at that time in high reputation. 
 
 He generally painted in a fmall fize, and finifhed his works with lingular neatnefs. 
 He alfo applied himfelf to portrait-painting with great fuccefs, being employed to paint 
 many noble perfonages of the higheft rank ; and he had the uncommon fatisfaction of 
 gaining their approbation, and what is ftill more, the friendship and efteem of all his 
 employers. He compofed well, and his defigns in general fhewed a very happy genius,, 
 and much corre&nefs, united with a tone of colouring that was clear and natural. 
 
 This mafter was not only eftimable for his merit as. a painter, but for the valuable 
 qualities and accomplifhments he poffefled; having an amiable difpoiition. of mind, and a. 
 knowledge of all the polite arts, and particularly of mufic. 
 
 Simon FRANCOIS. 
 Painted Portrait. 
 
 DIED 167I, AGED 65. 
 
 He was born at Tours, in 1606, and had no particular mafter; but obtained the 
 knowledge of the art of painting by great labour, exerted in copying ihe works cf 
 others, who were confeftedly eminent. 
 
 He, 
 
F R A 
 
 I *34 ] 
 
 F R A 
 
 He ftudied for feveral years in Italy, and returning through Bologna to his evm 
 country, he happened to contract an intimacy with Guido, who painted his portrait; and 
 when he arrived at Paris, he had the good fortune to be the firft who drew^ the portrait of 
 the Dauphin, foon after that Prince was born. In that he fucceeded fo happily, and fo 
 much to the fatisfaction of the King's Minifters, that he flattered himfelf it would prove 
 a means of eftablifhing his fortune and reputation; but finding himfelf undefervedly 
 disappointed, he was fo fenfibly affected with the treatment he had received, that he 
 retired from the world, to enjoy a life of privacy and quiet. 
 
 Il FRAPvI. Vid. Bianchi. 
 
 Lorenzo Maria FRATELLINI. 
 
 Painted Portrait, Hijiory^ Animals , and Land/cape. 
 
 DIED I729, AGED 39. 
 
 He was the fon of the celebrated Giovanna Fratellini, born at Florence, in 1690: 
 and appearing to have a good genius to the art of painting, his mother placed him as a 
 difciple with Domenico Gabbiani, whofe admirable method of inftruction fhe had herfelf 
 fufficiently experienced, when fhe ftudied under his direction. He continued with 
 Gabbiani for feveral years; and with clofe application copied the works of the beft 
 mafters, and like wife defigned after the naked in the academy. 
 
 Having thoroughly formed himfelf, by the judicious precepts of his mafter, and his 
 own induftry, to handle the pencil with eafe and freedom, to defign correctly, and paint 
 in oil; Giovanna taught him to paint in miniature, and with crayons (for fhe excelled 
 in both) ; and he became very eminent in his profeflion. His general fubjects were 
 portraits, which he finifhed in a delicate ftyle; but his genius was univerfal, and with 
 equal readinefs he defigned hiftorical fubjects, in which his figures were well difpofed, 
 and fhewed great variety in their actions and attitudes ; and he alfo defigned animals of 
 all kinds, flowers and landfcapes, with equal elegance and equal applaufe. 
 
 He applied himfelf too clofely to his work, and having a conftitution not fufficiently 
 firm to endure fo conftant a fatigue, he funk under it, and died of a confumption in his 
 fortieth year; and Giovanna became fo inconfolable for the lofs of her fon, that fhe 
 furvived that fevere affliction but a fhort time. 
 
 Giovanna FRATELLINI. 
 
 Painted Hijlory and Portrait. 
 
 DIED I73I, AGED 65. 
 
 This -very famous paintrefs was born at Florence, in 1666, where fhe was prefented 
 to the Arch-Duchefs Victoria, when fhe was very young ; and that Princefs, admiring 
 her fpirit and vivacity, took her under her own care, and caufed her to be educated at 
 court. Giovanna difcovered great readinefs of apprehenlion and quicknefs of parts; 
 and learned mufic and drawing with fuch incredible aptnefs, that the Princefs engaged 
 Hipolito Galantini, a famous painter in miniature, to inftruct her in that art. Her 
 proficiency was rather fuperior to expectation; and being foon eftablifhed in miniature, 
 
 the 
 
FRE 
 
 C 235 ] 
 
 FRE 
 
 the Princefs ordered that fhe fhould ftudy defign, and the art of painting in oil, under 
 the direction of Domenico Gabbiani, and crayon painting under Domenico Tempefti } 
 artifts who, at that time, were in the higheft reputation at Florence. In a very fhort 
 time ftie acquired fuch a command of the pencil, that (he furpaffed her inftructors, as well 
 in elegance, as in beauty of colouring; and to all her other accomplifhments added that 
 of painting delicately in enamel. 
 
 Her works gained her the greateft commendation, not only through Italy, but in every 
 part of Europe j for fhe was conftantly employed by the Grand Duke and Duchefs, to 
 paint their portraits, which they tranfmitted to different Courts ; and by that means every 
 nation became acquainted with her extraordinary merit. At the command of her patrons 
 fhe painted feveral fciiptural fubjects ; as, the Baptifm of Chrift, the Laft Supper, and 
 the Crucifixion, in water colours ; and in oil fhe copied in a large fize an Ecce Homo, 
 after a fine original painting of Baroccio. She alfo painted many portraits of the moft 
 diftinguifhed perfons at the Florentine Court ; and of thofe muficians or comic performers 
 who were favourites of the public for their charming execution, for fweetnefs of voice* 
 or for their propriety of action. 
 
 Martin FREMINET, Chevalier. 
 Painted Hijiory. 
 
 DIED 1619, AGED 52. 
 
 He was born at Paris, in 1567, and was taught the art of painting by his father, who 
 was but an indifferent artift ; but he travelled to Italy, and fpent fifteen or fixteen years 
 at Rome, Venice, and other cities of note, principally ftudying the works of Michael 
 Angelo Buonaroti ; and it was imagined that he endeavoured to imitate the tafte of 
 Parmigiano, in the contours of his figures, and in the airs of his heads. But although 
 he worked after fuch models, yet his figures, though defigned in their manner, are 
 abundantly more heavy, lefs elegant, and by no means agreeable. The adtion of the limbs 
 is too violent, and the mufcular parts are often fo .ftrongly marked, as even to appear under 
 the draperies. The merit of this painter confifted in his invention and defign, in his 
 knowledge of anatomy and architecture. 
 
 However, he was much employed and efteemed by Henry IV. of France, and 
 Lewis XIII. for whom he executed the principal part of the paintings in the chapel at 
 Fontainbleau, and had the honour of the Order of St. Michael being conferred upon, 
 him. 
 
 Dirk, or Theodore F R E R E S. 
 Painted Hijiory. 
 
 DIED 1693, AGED 50. 
 
 He was born at Enkhuyfen, in 1643, and went early to Rome; where he devoted his 
 whole time to ftudy and pra&ice, and acquired an excellent manner of defigning the 
 3 naked. 
 
F R E 
 
 C 236 3 
 
 F R E 
 
 naked. He preferred that pleafure and that advantage which arifes from application, to 
 the unprofitable amufements of company, and excefs; and, by that difcreet method of 
 conducting himfelf, obtained the friendftiip of perfons of worth, and fuch ability in his 
 profeflion, as enabled him to compofe his fubjects with tafte and elegance. 
 
 He ftudied for feveral years in Italy, after the antiques, and the molt capital paintings 
 at Rome ; and, in his own compofitions, fhewed how ftrongly he had imbibed the tafte of 
 the Roman fchool. But his principal merit confifted in his drawing and defign; having 
 neglected to improve himfelf as he ought, in the beauty of colouring ; though, had his 
 colouring been equal to his tafte of defign, he would have been furpafled by very few. 
 
 Sir Peter Lely had encouraged Freres to vifit London, from an expectation that he 
 might have been employed at Windfor ; but Freres, foon after his arrival, finding the 
 preference was given to Verrio, returned again to Holland. In one of the palaces of the 
 Prince of Orange, there are feveral noble pi&urcs of this mafter ; and in Amfterdam, a 
 grand hall is entirely furnifhed with his works, which, Houbraken fays, are much 
 admired, for a free and fine tafte of compofition and an elegance of defign. 
 
 Charles Alphonse du FRESNO Y. 
 Painted Hi/lory^ Portrait^ and Landscape. 
 
 DIED 1665, AGED 54. 
 
 He was born at Paris, in 1611, where he was inftructed by Perrier and Simon Vouet. 
 But he did not long adhere to the manner of colouring peculiar to Vouet; for, as foon as 
 he fixed himfelf at Rome, he made the works of Titian the model for his imitation. 
 
 He was more celebrated as a poet than as a painter; and yet no artift could have a more 
 extenfive knowledge of the excellencies, refinements, or delicacies of the art, than he 
 was univerfally allowed to poflefs; nor could any one have better abilities to direct others 
 how to excel. His precepts are admirable, and demonftrate the ftrength of his genius, 
 the clearnefs of judgment, and his induftry in carefully exploring every path which leads 
 to perfection in the art of painting. 
 
 There are but few pictures of his hand mentioned by any writers; and among the 
 number, are four landfcapes, in which the figures are painted by Mignart. It is only 
 remarked, that in his ftyle of colouring, he endeavoured to imitate Titian ; and in his 
 tafte of defign, the ftyle of the CaraccL. 
 
 To ma so da San FRIANO. Vid. Tomaso Manzuoli. 
 
 Peter FRITS, or FRITZ. 
 Painted Apparitions^ Enchantments^ and Emblematical Piclures. 
 He was born at Delft, but ftudied at Rome, where he refided for a long time. His 
 imagination was lively and ftrong; and the fubjeds which he generally chofe to paint, 
 
 were 
 
FRU 
 
 C m 3 
 
 F U L 
 
 were apparitions, and the wildnefTes of fancy, fuch as the temptations of St. Anthony, as 
 alfo fhips and barks filled with fpectres ; in which fubjefls he fhewed a very whimfical 
 variety of forms and figures. Sometimes he painted emblematical defigns, which were 
 held in good efteem. 
 
 In his return from Italy to his own country, he vifited feveral Courts of Europe, where 
 the novelty of his ideas and the Angularity of his compofitions, rather excited laughter 
 than approbation ; and at laft he fettled at Delft. Yet even in his native city, the 
 injudicious choice of his fubjecls had no fuccefs ; and he found but few purchafers, 
 although his work was executed with a great deal of force and fpiric 
 
 Philip FRUYTIERS. 
 
 Painted Portraits', and Converfations y in miniature. 
 
 This mafter was born at Antwerp ; and although he was at firft taught to paint in oil, 
 yet he foon difcontinued it, and preferred the painting in water-colours ; in which manner 
 he became fo excellent, that it was doubted whether any cotemporary mafter equalled 
 him in it, particularly in refpect of defign. His invention was ready, and he compofed his 
 fubjects extremely well ; the airs of his heads have a confiderable degree of grace, his 
 draperies are broad, and the folds are in a good tafte. 
 
 Rubens fhewed a great deal of efteem for the work of Fruytiers, and had the portraits 
 of himfelf and his family painted by him, in one picture ; in which the compofition, the 
 attitudes, and the colouring, are worthy of Rubens himfelf. Weyerman faw this picture, 
 and commends it highly. 
 
 Isaac FULLER. 
 
 Painted Hiftory and Portrait, 
 died 1676. 
 
 He was born in England, but he fpent feveral years in France, ftudying under Perrier 
 as a difciple. His mafter was much employed in drawing defigns after antique ftatues 
 which probably afforded Fuller an opportunity of copying them ; and gave him alfo a 
 fondnefs for exprefling the mufcular parts with more hardnefs than he ought in his own 
 compofitions, imitating rather the ftrength than the grace of the originals. 
 
 As to his compofition of hiftorical fubjects, it was but mean; his invention and 
 difpofition being indifferent, and his colouring raw and unlike nature; though in portrait- 
 painting he had a bold and mafterly pencil. 
 
 In the chapel of All Souls College, at Oxford, there is a Refurre&ion painted by this 
 mafter, of which feveral parts are accounted to have fome degree of merit ; and in 
 Wadham College, in the fame Univerfity, is an hiftorical picture, which by many is 
 fifteemed a good performance. 
 
 I i Francesco 
 
F U R 
 
 C 238 3 
 
 F Y T 
 
 Francesco FURINI. 
 Painted Hijlory. 
 DIED 1646, AGED 42. 
 
 This painter was born at Florence, in 1604, and received his firft inftruction front, 
 bis father Pippo Sciamerone, a painter of no contemptible talents; but he was farther 
 improved by Paffignano and Rofelli, till at laft he went to Rome. While he continued there, 
 he purfued his ftudies with fuch diligence, that he acquired a fine tafte of defign, and 
 aflbciated with that eminent artift Giovanni di San Giovanni. He was particularly fond 
 of defigning naked figures, as in thofe he fhewed the utmoft delicacy; and he principally 
 chofe to paint thofe fubjedts in which they could be introduced with elegance and propriety; 
 fuch as Adam and Eve, Lot and his Daughters, Noah's Drunkennefs, and fuch like; 
 or fimilar fubjects from poetical hiftory, as, the Death of Adonis, Diana and other 
 Nymphs bathing, the Judgment of Paris, &c. 
 
 His works were exceffively praifed, and allowed to pofTefs abundance of grace in the 
 contours of his figures, as well as in the airs of the heads. Many of his paintings are in, 
 Florence, which are deemed to add honour tathe valuable collections of the Nobility of. 
 that city. 
 
 John FYTT. 
 Painted. Live and Dead Animals, Birds, Fruits, Flowers, and Landfcape, 
 
 He was born at Antwerp, about the year 1625, and was an excellent painter of all 
 kinds of animals; to which he gave a natural, a bold, and elegant expreffion. He ftudied 
 nature incefTantly, and imitated her with the utmoft truth and exactnefs. His colouring 
 is ftrong, and his touch firm; and, in all the pictures of this mafter we fee a wonderful, 
 freedom of hand, and a manner of penciling peculiar to himfelf,. which eafily diftinguifh 
 the works of Fytt from thofe of any other mafter. 
 
 He was one of the beft artifts of his time, and frequently painted in conj unction with 
 Rubens and Jordaens ; and whatever fubject he chofe to reprefent, in the ftyle which he 
 adopted, was always defigned and finifhed in a mafterly manner. His general fubjects 
 were, live and dead game, wild. boars,hares, dogs, fruits,, flowers, and birds, particularly, 
 partridges ; which he defcribed with furprifing truth, nature, and ftrength. 
 
 He likewife imitated fuecefs fully the bas-reliefs on vafes of marble or porphyry; and 
 gave uncommon frefhnefs to his fruits and flowers; and in objects of the annimal kind, 
 be defcribed even the hairs of the animals,, and the plumage of his fowl, with wonderful 
 fpirit, exactnefs, and freedom of pencil. 
 
G A A 
 
 f 239 ] 
 
 GAB 
 
 G. 
 
 Barent G A A L. 
 Painted Landfcapesj Battles-, Fairs, and Inns, 
 
 J~][e was born at Haerlem, about the year 1650, in which city he was placed as a 
 difciple with Philip Wouwermans ; and by carefully ftudying the works of his mafter, 
 as well as by diligently praclifing his precepts, he became a painter of confiderable 
 diftinction. 
 
 He had a good manner manner of penciling ; he underftood the principles of perfpective; 
 and managed his lights and fhadows in all his compofitions with great judgment. His 
 figures and cattle are generally well defigned and well difpofed, and are alfo tolerably correct; 
 though, as he defigned his figures after nature, and after mean models, they ufually want 
 grace and elegance. There is much freedom in his trees, and many of his pictures are 
 touched with fpirit, the fkies clear and pleafant, and his grounds well broken. 
 
 He aflociated in his work with Ifaac Koene, the landfcape-painter, for whom he always 
 inferted the figures ; and although he cannot be accounted an artift of the firft clafs, yet 
 have his works a great deal of merit, and are every where well regarded. 
 
 Antonio Domenico GABBIANI. 
 Painted Hi/lory and Portrait. 
 
 DIED I726, AGED 74. 
 
 He was born at Florence, in 1652, and at firft was intended for the profeflion of 
 phyfic; but his father Antonio Domenico, obferving his predominant inclination to 
 tlefigning, placed him, while yet very young, under the care of Valerio Spada, who 
 excelled in drawing with a pen; and had him likewife inftrudted by Remigio Cantagallina, 
 who was very famous for painting in miniature. 
 
 Having thus obtained fome knowledge of defign, he fucceflively became a difciple of 
 Subtermans, and of Vincentio Dandini j and by the inftructions of thofe great mafters, 
 he foon acquired fuch a readinefs and correctnefs in defigning, as his preceptors could not 
 obferve without aftonifhment ; and therefore, in order Hill to improve his hand, Dandini 
 caufed him to copy all the compofitions of Pietro da Cortona, which are in the Palazzo Pitti 
 at Florence. While he was employed in that work, the Grand Duke Cofmo III. happening 
 to fee his performance, and being pleafed with the exactnefs of the imitation, encouraged 
 him, and condefcended to become his patron j and by fo unexpected an a£r, of benevolence, 
 animated the young artift to exert his powers, to attain the higheft perfection in his art. 
 The Duke foon after fent him to the Florentine Academy at Rome, to be under the 
 
 I i 2 direction 
 
GAB 
 
 C 240 3 
 
 GAB 
 
 direction of Ciro Ferri, with whom he continued for three years, defigning the beft' 
 works of the beft mafters. 
 
 Yet, ftill unfatisfied with the progrefs he had already made, he vifited Venice, to obtain- 
 a thorough knowledge of colouring ; and as foon as he thought proper to offer his 
 compofitions to the public view, they were purchafed by the principal Venetian Nobility, 
 on the recommendation of Sebaftian Bombelli, a very eminent painter, with whom 
 Gabbiani had an intimate friendmip. 
 
 At his return from Venice, where he had particularly ftudied portrait-painting, after 
 Titian and Tintoretto, the Grand Duke Ferdinand fat to him for his portrait; and as 
 it was exceedingly admired, he was appointed to paint the Grand Princefs Violante, and 
 Anna Louifa, the Duke's fifter. He likewife finifhed feveral noble compofitions for 
 altar-pieces in the churches of Florence, which effectually ertablifhed his reputation. He 
 had alfo the honour of being invited to the Court of Vienna, where he painted the 
 portraits of the Emperor, and the King of the Romans ; and received the higheft 
 commendation for the beautiful colouring, as well as the noble attitudes and ftrong 
 refemblance of his pictures. 
 
 That climate happening to difagree with his conftitution, he returned in a bad ftate of 
 health to Florence j and as foon as he felt himfelf reftored by his native air, he was 
 employed in the palaces of the prime Nobility, every new work adding to his fame, 
 which was fpread through all the cities of Italy. 
 
 Among many admirable paintings by this mailer, three are particularly mentioned as 
 being capital performances : one is, the Rape of Ganimede ; another, Erminia alighting 
 from her Steed ; and the third, the Repofe in Egypt. Each of thefe are exceedingly 
 beautiful in the colouring, and in a fupreme degree correct and elegant in the defign. 
 And among his grander works, is mentioned an incomparable altar-piece ; of which the 
 fubject is, the Affumption of the Virgin, who appears above, furrounded with glory; 
 below, are reprefented the Apoftles, larger than life, with a wonderful variety of graceful 
 and proper attitudes. 
 
 His ideas were very elevated; his invention was noble; his difpofition judicious; his 
 defign extremely correct ; his attitudes well chofen, and always full of dignity and 
 character. He had a lively imagination, and an extraordinary readinefs in his execution; 
 his pencil being free and yet delicate, and his touch fpirited. He is ranked in the firlft 
 clafs of modern great mafters, and is accounted one of the ornaments of his time. 
 
 Unfortunately he was killed by a fall from a fcaffold, where he had been at work. 
 
 William GABRON. 
 Painted Still Life. 
 
 He was born at Antwerp, where he learned the rudiments of the art ; but his principal 
 inftruction and improvement he received in Italy, particularly at Rome, in which city he 
 refided for a confiderable number of years. 
 
 He 
 
GAD 
 
 f 241 J 
 
 GAD 
 
 He was much admired for his delicate imitation of thofe objects which he painted after 
 nature; fuch as gold and filver vafes, cups, and dimes, china and porcelain ware, 
 fruits, flowers, and infects ; and thofe fubjects he expeeffed with fo great truth, as to 
 afford the eye a very pleafing deceptioni 
 
 Gaddo GADDI. 
 
 Painted Hi/lory. 
 
 DIED 1312, AGED 73. 
 
 He was born at Florence, in 1239, anc * was one of " ^e firft painters who imitated 
 Cimabue, or defigned in the Grecian tafte; being alfo an expert artift in works of 
 Mofaic. He defigned better than all the other painters of his time; and performed 
 feveral great works at Rome and other parts of Italy, but particularly in Mofaic. 
 
 Taddeo GADDI. 
 
 Painted Hijiory. 
 
 DIED I35O, AGED 50. 
 
 He was born at Florence, in 1300, and inftrudted in the art by his father Gaddo; but 
 he was afterwards a difciple of Giotto. He had a good genius, which he ftrengthened by 
 great application; and acquired fuch a manner of colouring, as rendered him very much 
 fuperior to his maft^r. His figures were lively, and his expreffions highly commendable, 
 confidering the early age in which he painted ; his invention was ingenious, and his 
 defigns were executed with great freedom and eafe. 
 
 The moft memorable picture of this ancient artift, is the Paflion of our Saviour,, 
 which is preferved in the church of the Holy Ghoft, at Arezzo. 
 
 Agnolo GADDL 
 Painted Hijiory. 
 * DIED 1387, AGED 64. 
 
 He was the fon and difciple of Taddeo, born at Florence, in 1323; and received his 
 firft inftruction from his father, though he afterwards was aflifted in his ftudies by Giotto. 
 
 His 
 
 * There appears to be a remarkable inaccuracy in the Hiftorical Tables publiflud by Mr. Harms, in regard to Taddeo 
 and Agnolo Gaddi ; for, although Agnolo is inconteftably the fon of Taddeo, yet the year of their birth and their death 
 are precifely the fame in thofe Chronological Tables. 
 
 Table II. Taddeo Gaddi, born in 1 300, died in 1 3 50. 
 Table II. Agnolo Gaddi, born in 1300, died in 1350. 
 Whereas Agnolo died in 1387, and was born in 1323. 
 Da Piles is alfo guilcy of the fame error ; for he fets down the year of Agnolo's death in 1350, and his birth in 1300 1 
 which dates only agree with, the father Taddeo, and cannot poffibly agree with the true dates of the fon. 
 
G A E 
 
 [ 242 ] 
 
 G A. E 
 
 His manner of painting was like that of his father ; but he was particularly folicitous to 
 exprefs the paflions with propriety. 
 
 Alexander Van GAELEN. 
 Painted Battles, Huntings, and Animals. 
 
 DIED I728, AGED 58. 
 
 This painter was born in 1670, and learned the art of painting under the direction of 
 John Van Huchtenburg, who, befides his profeflion as a painter, was alfo a confiderable 
 picture-merchant; and Van Gaejen, before thofe pictures were expofed to fale, exerted 
 himfelf in copying fuch of them as were of the beft clafs, and of greateft value. Yet 
 he did not content himfelf with obferving their imitations of nature, but ftudied nature 
 itfelf, in other countries as well as his own. His tafte of compolition and defign was 
 formed from the works of the many eminent artifts which he had ftudied; and he obtained 
 fo great a freedom of hand, and fuch correctnefs of outline, that his pictures rofe into 
 very high efteem. His fubjects were ufually reprefentations of the chafe ; huntings of 
 .the fox, the flag, or the wild boar; and his animals were extremely commended for their 
 action and fpirit. 
 
 The Elector of Colgone employed him for a long time ; and he alfo vifited London, 
 where his paintings procured him many marks of favour, as his merit feemed to be very 
 well known in England. While he continued in that kingdom, he was appointed to 
 reprefent in a picture, Queen Anne drawn in a coach by eight horfes, attended by her 
 guards; and that fubject he executed with fo great fuccefs, that it contributed to the 
 advancement of his fortune and his reputation. He alfo was engaged by an Englifh 
 .Nobleman to paint three battle-pieces, reprefenting engagements between King Charles L 
 and Oliver Cromwell, and a very large defign of the decifive battle at the Boyne, between 
 the armies of King "Willam III. and James II. 
 
 Scipio GAETANO. 
 Painted Portrait and Hijlory. 
 
 DIED I588, AGED 38. 
 
 He was born at Florence about the year 1550, and was a difciple of Jacopino dal 
 Conte, an excellent painter of portrait; under whom he improved to fuch a degree, as 
 not only to become far fuperior to his mafter, but fuperior to all his cotemporarie?. 
 His attitudes were defigned in an elegant and fine tafle ; the heads were lively, graceful, 
 and as expreflive as life itfelf ; and his draperies were diftributed in large broad folds, 
 with abundance of eafe and nature. He excelled alfo in the hiftorical ftyle, and adorned 
 feveral of the churches and palaces at Rome with his compofitions. By a proper mixture 
 of ultramarine, he gave an unufual clearnefs to his colours; and he fmifhed his pictures 
 with exceffive neatnefs and care. 
 
 In 
 
GAL 
 
 C 243 1 
 
 GAL 
 
 In the Ambrofian Library at Milan, is a beautiful head of the Virgin by Gaetano; it 
 is exquilitely well defigned, the colouring is remarkably clear, and the frefhnefs of the 
 whole is truly admirable. 
 
 GALANINO. Vid. Alloisi. 
 
 Hipolito GALANTINI, called Cappuccino,- and Preti Genoese. 
 Painted Hijiory^ and Portrait in large and in miniature* 
 
 DIED I706, AGED 79. 
 
 This artift was born at Genoa, in 1627, and was inftrufled in the art of painting in 
 miniature by Stefanefchi; in which ftyle he became very eminent, and (hewed an equal 
 degree of merit in his larger compofitions. He was called Cappuccino, from his having 
 entered into orders among the Capuchins at Florence ; and by undertaking that profeflion, 
 he was obliged to travel, into Afia as a miflionary, and on that account is called Preti 
 Genoefe. 
 
 At his return to Europe, happening to pafs through Paris, he was known to be a 
 famous miniature-painter, and introduced to the King of France, who requefted 
 Hipolito to paint feveral pictures for him; and from that Monarch he received many 
 extraordinary marks of favour, as from the public he received a general approbation. 
 He had wonderful patience and application, and was remarkable for correctnefs and 
 elegance; his ftyle was agreeable, his colouring very delicate, and his expreflion exact, 
 and full of life. 
 
 In the Duke's palace at Florence, there is an admirable picture by this mafler, in 
 which the figures are only at half-length, but as large as life. The fubjecl: is the 
 Payment of the Tribute Money; it is accounted one of the moft capital performances of 
 Galantini, and is executed with uncommon freedom atnd neatnefs of pencil. The 
 colouring is lively, true, and has great force ; and although the tints are bright and clear, 
 yet the whole has abundance of harmony. The defign is in a fine tafte ; the heads, 
 efpecially thofe of the old men, are excellent; the fhadows have all the force of Valentino, 
 without the blacknefs and the head of one figure of a boy. feems real nature. 
 
 • Filippo Maria GALETTL 
 Painted Hi/lory and Portrait. 
 
 DIED 1742, AGED 78. 
 
 He was an ecclefiaftic of* the Order of Theatines, born in 1664, and was a difciple of 
 Ciro Ferri. He became excellent in thofe branches of the art which he ufually pradtifed, 
 and painted a great number of eafel-pi&ures and portraits through every part of Italy, 
 but particularly in Florence, where he was employed by the Grand Duke, and gained 
 imiverfal commendation for the neatnefs of his finiihing, and the beauty of his colour. 
 
 2 GALLI. 
 
GAM 
 
 C *44 3 
 
 GAR 
 
 GALLI. Vid. Bibiena. 
 
 Gioseffo GAMBARINI. 
 Painted Hiftory. 
 
 This mafter was born at Bologna, in 1679, and educated in the fchool of Lorenzo 
 Paflinelli, with whom he made a confiderable progrefs in defign and handling; and was 
 qualified to improve himfelf ftill farther, by ftudying at Rome and Venice, where he 
 acquired a more correct tafte of compofition and colouring. He worked with great 
 applaufe in feveral parts of Italy, efpecially at Rome; where, in the chapel of St. Petronius, 
 is to be feen one of his moft capital performances. In many refpects he was efteemed a 
 very great mafter; but he was principally regarded for the excellence of his colouring, 
 which was not only beautiful, but it had alfo abundance of force. 
 
 James GANDY. 
 Painted Portrait. 
 DIED 1689, AGED 70. 
 
 This painter, although he was a very able artift, is but little known. He was 
 born in the year 1619, and inftructed by Vandyck; and his works are a fufficient proof 
 of the lignal improvement he received, from the precepts and example of that great mafter. 
 
 The caufe of his being fo totally unknown was, his being brought into Ireland by the 
 old Duke of Ormond, and retained in his fervice. And as Ireland was at that time in a 
 very unfettled condition, the merit and the memory of this mafter would have been entirely 
 unnoticed, if fome of his performances, which ftill fubfift, had not preferved him from 
 oblivion. There are at this time in Ireland many portraits, painted by him, of noblemen 
 and perfons of fortune, which are very little inferior to Vandyck, either for expreflion, 
 colouring, or dignity; and feveral of his copies after Vandyck, which were in the Ormond 
 collection at Kilkenny, were fold for original paintings of Vandyck. 
 
 Lorenzo GARBIERL 
 Painted Hijiory. 
 
 DIED 1654, AGED 64. 
 
 He was born at Bologna, in 1590, where he was placed as a difciple in the academy of 
 Ludovico Caracci, whofe tafte of defign he very ftudioufly endeavoured to imitate. But 
 he was of a grave and phlegmatic difpofition, which always influenced him to choofe thofe 
 kind of fubje&s that gave the mind of a fpectator a melancholy turn; fuch as peftilences, 
 martyrdoms, &c. However, he had a bold manner of defigning ; nor were his figures 
 without a degree of grace, whenever his fubjedl: required it. The principal works of 
 this mafter are at St. Michael in Bofco, and they are executed in fuch a ftyle as will always 
 fupport his reputation. 
 
 5 Rafaellino 
 
GAR 
 
 C 245 ] 
 
 G A R 
 
 Rafaellino del GARBO. 
 
 Painted Hiftory. 
 
 DIED I534, AGED 58. 
 
 He was born at Florence, in 1476, and learned the principles of defign from Filippo 
 Lippi. He gave fuch proofs of genius in his early attempts, that there was the higheft 
 expectation of his being exceedingly eminent in a more advanced age; for his defigns 
 were executed with unufual freedom and fpirit, and he foon appeared fuperior to his 
 inftructor. In his beft time, he painted the fubject of the Refurrection of Chrift, which 
 was exceffively admired; the figures were well defigned, the characters of the foldiers 
 judicioufly marked, the airs of the heads were graceful, and the whole compofition was 
 full of fpirit; but he afterwards altered fo much for the worfe, that all his latter 
 productions were the objects of contempt and ridicule; nor did they feem the work of 
 the fame mafter. 
 
 In his beft time his pictures were highly laboured, and the tint of his colouring in 
 frefco, as well as in oil, was foft and pleafant; but, before his death, he loft all the 
 reputation which he had defervedly obtained by his more early performances, and he died 
 in poverty and difefteem^ 
 
 Benvenuto GAROFALO. 
 Painted Hijlory and Land/cape* 
 DIED 1559, AGED 78. 
 
 He was born at Ferrara, in 148 1 ; and having fhewn evident tokens of an early fondnefs, 
 as well as a very ftrong genius to painting, his parents had him inftructed in drawing and 
 defign, by one Domenico Laneto, a painter who was in fome credit at Ferrara, though 
 his manner was but dry and poor; but on feeing the works of Boccacino Boccaci at 
 Cremona, he placed himfelf under the direction of that mafter for two years, and advanced 
 his knowledge confiderably. At the age of nineteen he quitted Cremona, in purfuit of 
 improvement, and went to Rome, where he ftudied inceffantly, devoting the whole day, 
 and the greateft part of the night, to defigning, having Giovanni Baldini, a Florentine 
 painter, for his director ; and he afterwards practifed under Lorenzo Cofta, at Mantua, for 
 two years. 
 
 At laft his curiofity to fee the works of Raphael and Buonaroti, influenced him to return 
 to Rome; and there he was filled with inexprefiible aftoniihment and delight, to obferve 
 the elegance and grace of the one, and the profound (kill difplayed in the defign of the 
 other. Immediately he defpifed that manner of the Lombard fchool, which had coft him 
 the application of fo many years to acquire, refolving to diveft himfelf of it as foon as 
 poffible; and being fortunate enough to gain the friendftiip of Raphael, that illuftrious 
 
 K k artift 
 
GAR 
 
 [ 246 ] 
 
 GAR 
 
 artift inftrucled Garofalo in his own true principles of defign and colouring, till, by the 
 induftry of a few years, he refined his tafte, and fhewed himfelf worthy of the favours 
 conferred on him by Raphael. 
 
 Unwillingly he quitted Rome and Raphael, being obliged to return to Ferrara, on 
 account of his domeftic affairs ; but he there met with every encouragement from the 
 Duke and his fellow-citizens, as they foon perceived his new and nobler manner, which 
 appeared in the difpofition, the attitudes, and the elegance of his figures, in his lively and 
 agreeable tone of colour, and in the correctnefs of his outline; the whole compofition 
 having a confiderable air even of Raphael himfelf. 
 
 In a chapel of the church of St. Francis, at Ferrara, he painted the Refurreclion of 
 Lazarus ; which, for the variety and corredtnefs of the figures, as well as for the beauty 
 of the colouring, was exceflively admired ; and alfo another fubjedr. in the fame chapel, 
 reprefenting the Murder of the Innocents; in which the attitudes, the actions, and the 
 expreffion of the figures, are admirable. Of that performance a judicious writer fays, that 
 one would certainly call it Raphael's ; for there is fo much of the fpirit and manner of 
 that great mafter in it, that the miftake would almoft do honour to the perfon who made 
 it. But the moft capital work of Garofalo, in oil colours, is in the chapel of St. George, 
 near Ferrara. The fubjedt is the Adoration of the Magi; and the excellence of that 
 work eftablifhed his fame, and procured him as much employment as he could pofiibly 
 execute. He had the misfortune to lofe the fight of one of his eyes, and yet he painted with 
 as much delicacy as ever, till his fixty-ninth year; when he was totally deprived of his. 
 fight, and in that ftate he lived nine years. 
 
 In the Palazzo Zampieri,at Bologna, there are two landfcapes painted by Garofalo, which 
 are in a fine tafte, and have abundance of force, but they are rather too dark. 
 
 Ludovico GARZI, Romano*. 
 Painted Hijiory and Portraits 
 
 DIED 1721, AGED 8l. 
 
 He was born at Rome*, in 1 640, and was a difciple of Andrea Sacchi ; and in particular 
 parts of his art pofTefTed a great deal of the merit of his mafter. The airs of his heads 
 had grace and elegance, not inferior to thofe of Carlo Maratti, to whom he was a 
 cotemporary; and he was very defervedly placed in competition with that efteemed mafter, 
 as the ftyle and tafte of defign of Garzi was fo very fimilar to that of Carlo, that the works 
 of the former are eafily miftaken for thofe of the latter. 
 
 Ludovico 
 
 * The authors of the Abrege de la Vie des Peintres fay he was born in 1638, at Piftoia, and went to Rome when hs 
 was fifteen years of age; but other writers affirm that he was bom at Rome in 1640, and was diftinguiftted by the name 
 of Ludovico Garzi Romano, as Julio Romano had been in the time of Raphael. Thefe authors are alfo guilty of another 
 fcnall miftake, in faying he was born in 1638, and was 81 when he died in 172 1, whereas from thofe dates he muft hav« 
 been 83 j and to make the dates truly coincide with his age-, they muft be as above, born in 1640, died 1721, aged 8i» 
 
GAR 
 
 £ 247 3 
 
 G A U 
 
 Ludovico defigned correctly, and for invention and colouring might be compared with 
 any,mafter. His figures are finely turned, his draperies are natural and elega.ntly caft, 
 and his groups of boys and angels are Angularly excellent. 
 
 Mario GARZI. 
 Painted Hijtory and Portrait. 
 
 He was the fon and difciple of Ludovico, born alfo at Rome, and became an extraordinary 
 good painter. His ftyle in compofition and defign was entirely in imitation of his father i 
 and in his manner of colouring and handling there appeared a ftrong refemblance. 
 
 He died before his father. 
 
 Hendrick GAUD. 
 Painted Landscapes and Jmall Figures* 
 
 DIED 1639, AGED 69. 
 
 He was born at Utrecht, in 1570, of an illuftrious family; and refided at Rome when 
 Elfheimer followed his profeflion in that city. He contracted a mnft intimate friendfhip 
 with that excellent artift; ftudied his manner of penciling, defigning, and colouring; and 
 made the works of Elfheimer models for his own imitation. He pre-engaged all the 
 pictures that his friend and favourite could finifh, and even paid liberally for them before- 
 hand; by which means he found himfelf in pofleffion of a moft defirable treafure. 
 
 Thofe pictures which Gaud himfelf painted were neatly and delicately touched, in 
 colour and pencil refembling Elfheimer ; but they were in no degree equal to the 
 paintings of that admirable mafter, nor would they admit of even being compared with 
 them. He practifed engraving as well as painting, and made feveral prints after the 
 pictures of Elfheimer, which are well known to the curious, and are to be met with in 
 moft collections of prints. 
 
 GAUDENTIO. 
 
 Painted Hljiory. 
 
 He was born at Milan, about the year 1480, and flourifhed at the fame time with 
 Raphael and Titian ; and even at that period, when fome of the moft celebrated mafters 
 that ever appeared were enriching Italy with their compofitions, Gaudentio was very 
 highly efteemed for the fertility of his invention, and his extraordinary freedom of hand. 
 
 He painted equally well in frefco, and in oil ; and finifhed a great number of paintings 
 in his native city, which were accounted exceedingly good; particularly, in the church of 
 St. Celfus, he painted the grand altar-piece; and in a chapel belonging to the church of 
 St. Maria della Gratia, he painted the hiftory of Chrift's Paifion, with figures as large 
 as life, 
 
 Kk 2 Giovanni 
 
G A U 
 
 C 248 ] 
 
 G A Z 
 
 Giovanni Battista GAULI, called Baccici. 
 Painted Hijiory and Portrait* 
 
 DIED I7O9, AGED 70. 
 
 He was born at Genoa, in 1639, where he was inftru&ed in defign and colouring, 
 But, under the protection of the Genoefe Envoy, in whofe train he was compaflionately 
 taken to Rome, he was accidentally made known to Bernini, and Mario Nuzzi, da Fiori ; 
 who not only directed him in obtaining a better knowledge of his art, but promoted him 
 by their recommendation, and laid the foundation of that fortune and reputation at which 
 he afterwards arrived. 
 
 He became excellent in portrait-painting, though his genius and talents were much 
 better adapted to hiftory; but he was fo eagerly folicited to paint portraits, that he 
 finiflied an extraordinary number of thofe fubjects, among which were the portraits of. 
 five Popes, and all the Cardinals of his time. 
 
 His invention was good; his tone of colour lively and agreeable; and his touch was- 
 fpirited. He underftood the art of fore-fhortening his figures, to a wonderful degree; and 
 gave them fuch force, that they feem to come forth from the cielings which he painted. 
 Thofe works which he finifhed in the angles of the dome of St. Agnes,- in the Palazzo 
 Navona, had fuch ftrength of colour, that they made the colouring of Giro Ferri look 
 feeble; and it is reported that the death of that great artift was occafioned through chagrin, 
 on feeing the effect of Gauli's performances fo far fuperior to his own. However,, 
 although he had great merit in many parts of his art, it muft be confened that he fome- 
 times is incorrect and heavy, and his draperies have too much of a manner in their folds*. 
 
 Benozzo GAZZOLI. 
 Painted Portrait^ Animals^ and Landfcape. 
 
 DIED I478, AGED 78. 
 
 He was a very ancient matter, born at Florence in 1400, and the difciple of Giovanni 
 Angelico da Fiefole, who diftinguifhed him above all his difciples, for expertnefs of hand, 
 as alfo for a copious invention; and he proved fuperior to any of his cotemporaries in 
 defign. He gave a fufEcient evidence of his abilities in hiftorical compofition, by 
 defigning the principal fubjects of the Bible; and by the multitude and variety of his figures, 
 he evidenced the extenfivenefs of his genius, as well as the goodnefs of his tafte. 
 
 He painted all kinds of fubjects with equal freedom and eafe: he gained a general 
 
 approbation by his performances, not only in hiftory, but in portrait, landfcape, animals, 
 
 perfpective, and ornaments of architecture; and was employed at Rome, Florence, Milan, 
 
 and many other parts of Italy. His principal work is in the dome of the great church at 
 
 Pifa, in which he has reprefented Chrift difputing with the Doctors, which confifts of a 
 
 great number of figures, well defigned, and with good expreffion. 
 
 2 John 
 
GEE 
 
 [ 249 ] 
 
 G E L 
 
 Johh Van GEEL 
 
 Painted Hijiory and Conversations. 
 
 This mafter painted in the manner of Metzu, and with fo great exadtnefs, that the 
 work of the one frequently paffes for the work of the other. Houbraken defcribes a 
 picture of Van Geel, in which he has reprefented a woman fitting with a child in her lap. 
 The figures in that defign are very judicioufly difpofed ; and the drapery, which is of 
 yellow fatin, falls in eafy, natural folds; it is painted with a thin, delicate colour; and the 
 touch is light, neat, and fpirited. The picture is in every refpedt fo like Metzu, that it 
 is generally taken for his work. 
 
 There are alfo fea-ports, on which the name of John Van Geel is infcribed, which are 
 coloured with a great character of nature and truth, being; alfo excellently defigned, well 
 penciled, and very tranfparent. The figures are introduced with propriety and judgment; 
 they are in general neatly handled, but fometimes the figures appear rather too large for 
 perfpedtive proportion; but the whole together is pleafing and maifterly. Yet, whether 
 thefe are by the hand of that Van Geel who imitated Metzu, or by another artift of the. 
 Came name, is not pofitively determined by the writers on this fubject. 
 
 Are nt, or Arnold de G ELDER. 
 Painted Portrait and Hijiory. 
 
 DIED I727, AGED 82. 
 
 He was born at Dort, in 1645, and learned defign in the fchool of Samuel Van 
 Hoogftraten; but afterwards he went to Amfterdam, and became a difciple of Rembrandt,, 
 under whom he made fo great a proficiency, that he approached near to the merit of that 
 famous artift. Nor is it any way furprifing, that in his colouring, handling, and freedom 
 of pencil, he fbould fo exactly imitate his mafter, finee he refembled him as ftrongly as 
 pomble in his manner of thinking. And although many of Rembrandt's difciples quitted 
 his ftyle, in fome time after they had quitted his fchool; yet it is obferved of De Gelder, 
 that he conftaratly adhered to it as long as he lived. He fpent two years under the 
 direction of Rembrandt; but he accomplished himfelf in his art, by a curious and attentive- 
 ftudy of nature. 
 
 In imitation of his mafter, he alfo had a repofitory of fuch objects of ftill life as he 
 might at any time have occafion to paint; as armour, fire-arms, fpears, and old draperies ; 
 and the walls of his room were covered with fluffs, filks, or enfigns, tattered and whole;, 
 from which antique ftores he drefled his figures, and furnilhed the back-grounds of his 
 pictures. When he reprefented fringes, or embroideries, he frequently laid on a mafs, of 
 colour, and only broke it into the form he defigned with the ftick of his pencil, which 
 generally produced a bold and good effect, if the work was viewed at a proper diftance. 
 
 Among his principal works are mentioned the laft fcene of David's life, when 
 Bathmeba requelb him to make Solomon his fucceflbr; and Jacob the Patriarch bleffing 
 
 his 
 
<G E h 
 
 [ £50 ] 
 
 GEL 
 
 his children. His laft work was the Sufferings of Chrift, in twenty-two pieces, whicK 
 Houbraken commends, for having a true and ftrong expreflion, a furprifing variety of 
 
 figures, and an excellent chiaro-fcuro. 
 
 Gualdorp Gortzius, called G E L D O R P. 
 Painted Portrait and Hi/lory. 
 
 DIED l6l8, AGED 65. 
 
 This painter was born at Louvain, in Brabant, in 1553 ; and finding no fufficient 
 mafters in his own city, he went to Antwerp, to feek out others better qualified to inftrucr. 
 him in the art of painting; and placed himfelf under the direction of Francifcus Franks. 
 But that mafter dying in a fhort' time after, Geldorp became the difciple of Francis 
 Pourbus. 
 
 His principal employment was to paint portraits, in which ftyle he received great 
 encouragement, and was reckoned among the good artifts of his time; yet Sandrart fays, 
 he was not capable of drawing a whole figure, nor was he expert in defigning the hands, 
 or the extremities with correcrnefs or elegance; but, in the execution of both, was 
 afiifted by other painters. 
 
 However, Defcamps and other writers affirm, that he compofed hiftorical fubje&s with 
 fome degree of credit, and alfo heads, which had a great deal of merit. At Cologne there 
 is a Danae of his defign, which is much praifed ; and two heads, one of Chrift, and the 
 other of the Virgin, which by fome connoiffeurs have been efteemed little inferior to 
 Guido. 
 
 Certainly one might be induced to believe, there muft have been two different 
 painters of that name; as the merit afcribed to the paintings of Gortzius, by writers who 
 had feen them, and were competent judges, feems to be incompatible with the character 
 jgiven of Geldorp by Sandrart, and by De Piles, who for the moft part tranflates Sandrart. 
 
 Jacob GELLIG. 
 
 Painted Fijh> and Still Life. 
 He was born at Utrecht, about the year 1636, where he learned defign and colouring; 
 but he ftudied after nature entirely. The fubje&s which he chofe to paint, were thofe 
 kinds of fifh peculiar to rivers; as fuch objects were moft frequently feen and fold at 
 Utrecht. 
 
 As he never painted by the ftrength of imagination, or memory, but always copied 
 every object as it was placed before him, his imitations were proportionably exact; and 
 he defigned them with a great deal of truth, and gave them the colour of nature. However, 
 he had no great elegance in the difpofition,nor had he any remarkable tranfparence in the 
 colouring of his objects; though in other refpe&s he had merit, and a free, firm manner 
 of penciling. "On the irruption of the French into Holland in 1672, he found fo fmall a 
 demand for his pictures, that he applied himfelf entirely to the painting of portraits. 
 
 3 VlNCENTIO 
 
V 
 
 GEM [ 251 ] GEN 
 
 Vincentio di St. GEMIGNANO, called Vincentino. 
 
 Pointed Hi/lory. 
 
 DIED I530j AGED 40. 
 
 He was born at San Gemignano, in the territory of Tufcany, in 1490 ; but he became 
 a difciple of Raphael, and fuccefsfully imitated the ftyle of that inimitable artift in his 
 tafte of defign and compofition, as well as in his colouring. He was employed by his 
 mafter in many of the works in the Vatican; as alfo in thofe which were painted in frefco 
 at the Pope's palace. Several of his own compofitions which he painted in Rome, were 
 defigned in the manner of Raphael, and delicately coloured; yet, when he quitted Rome 
 in 1527, at the plundering of that city, and returned to Tufcany, he did not perform any 
 thing worthy of that reputation which he had acquired at Rome, under the guidance of 
 Raphael. 
 
 Giacinto GEMIGNANO, or Geminiani. 
 Painted Hiftory. 
 
 DIED l68l, AGED 70. 
 
 He was born at Piftoia, in 1 61 1, but travelled to Rome, and placed himfelf as a difciple 
 with Pietro da Cortona; under whom he proved an hiftorical painter of fingular merit. 
 He continued at Rome for fome years, and finimed feveral fine compofitions for the 
 churches and convents ; by which he gained an eftablifhed credit, and then returned to his 
 native city. 
 
 Luigi GEMIGNANO, or Geminiani. 
 Painted Hijlory. 
 DIED 1697, AGED 45. 
 
 He was the fon and difciple of Giacinto, born at Piftoia, in 1652; but he perfected his 
 ftudies at Rome, where he alfo followed his profeflion, and obtained the reputation of 
 being an excellent artift; for he not only defigned and compofed with much greater 
 fpirit than his father, but he excelled him in the beauty of his colouring, although he was 
 not quite fo correct. 
 
 Girolamo GENGA. 
 Painted Hijlory and Perfpeflive> 
 
 *DIED 1551, AGED 75. 
 
 He was born at Urbino, in 1476, and at the age of fifteen was placed in the fchool 
 of Luca Signorelli, of Cortona, a painter who at that time was in great efteem ; under 
 
 whom 
 
 * Vafari fays he died in 1551, aged 75, and confequently he mull have been born in 1476; yet the author of 
 the Chronological Tables fays he was born in 1496, and died in 1551, making h'm only 55 at his death, which 
 is undoubtedly a miftake. 
 
GEN 
 
 [ 252 ] 
 
 GEN 
 
 whom he ftudied for feveral years, and aflifted his mafter in moll of his undertakings in 
 different parts of Italy, but particularly at Orvieto ; being acknowledged the beft difciple 
 of that fchool. Afterwards he fpent three years with Pietro Perugino, at the fame time 
 that Raphael was under the care of that artift; and that intercourfe laid the foundation of a 
 raoft cordial friendfhip between Raphael and Genga, which never was impaired. 
 
 As he had made perfpective and architecture his particular ftudy, he excelled in both; 
 and was employed by the Duke of Urbino to paint the fcenery of his theatre, which 
 Genga executed, in an admirable manner, to his own honour, and the fatisfaction of the 
 Duke ; and his extraordinaty abilities in the feveral branches of his art, procured him 
 ample employment at Rome and Florence (as well as at Urbino), where his performances 
 were held in great efteem. 
 
 Bartolomeo GENGA. 
 Painted Hijiory and Portrait. 
 
 DIED 1558, AGED 40. 
 
 He was the fon and difciple of Girolamo Genga, born at Urbino, in 15 18. He was 
 reputed an able artift, and painted entirely in the manner of his father; but, -beades his 
 merit as a painter, he was alfo an architect and a ftatuary. 
 
 Benedetto GENNARI, called Benedetto. 
 Painted Hijiory and Portrait. 
 
 DIED 1715^ AGED 82. 
 
 This painter was torn at Bologna, in 1633, being the nephew and difciple of Guercino, 
 under whofe direction he learned colouring and defign. He gave up his whole attention 
 and ftudy to imitate the ftyle of his uncle, and his application was attended with pro- 
 portionable fuccefs. For feveral years he continued with Guercino, aflifting him in his 
 works ; but when he introduced himfelf to the world, by compofitions of his own, he 
 received all poflible marks of public approbation. 
 
 By the advice of his friends he vifited France, and was there eminently diftinguifhed by 
 Lewis XIV. who appointed him to paint feveral pictures for one of his palaces, and 
 rewarded him honourably; he alfo fucceeded happily in a portrait of the Duke of Orleans, 
 which added abundantly to his reputation. While he refided at Paris, he was engaged by 
 a perfon in high ftation to compofe a defign of Endymion fleeping; but, being afllred 
 that his employer would not reward him in proportion to his labour, or the merit of his 
 performance, he privately retired from Paris with his picture, which he had finifhed with 
 his utmoft (kill, and went to London, where he knew the arts and fciences were always 
 moft liberally encouraged. 
 
 No 
 
GEN 
 
 C 253 ] 
 
 GEN 
 
 No fooner was Benedetto known in that city to be the nephew of Guercino, than he 
 found admirers and friends, by whom he was introduced to King Charles II. j and he had 
 the honour of prefenting to that Monarch the picture of Endymion, as a proof of his ability. 
 The King viwed it with pleafure, and rewarded the artift in a princely manner ; and at 
 the fame time, Benedetto had the fatisfaction to receive the univerfal applaufe of the beft 
 judges of painting in the Englifli Court. 
 
 He continued for a conliderable time in England, very much carefTed and employed ; 
 and, on his leaving that country, retired to his native city Bologna, where he ended his 
 days. In a chapel belonging to the church of St. Giovanni in Monte, at Bologna, there 
 Is an hiftorical picture by Benedetto, which is efteemed a fine performance, and extremely 
 in the manner of Guercino. The fubject is, a King receiving Baptifm from St. 
 Annian. 
 
 C.;esare GENNARI. 
 Painted Landfcape and Hijlory. 
 
 DIED 1688, AGED 47. 
 
 He was a nephew and difcipleof Guercino, born at Bologna, in 1641. In hiftorical 
 compolitions he had a bold and noble ftyle of painting, which was exceedingly admired ; 
 but his landfcapes in particular were in a fine tafte, and his trees touched with a free and 
 firm pencil, much refembling the manner of his mafter. 
 
 Abraham GENOELS. 
 Painted Landfcape and Portrait. 
 
 He was born at Antwerp, in 1640, and at firft was a difciple of Jacques Bakkereel, 
 "with whom he continued four years; but then having a great defire to learn perfpective, 
 he placed himfelf under the direction of Nicholas Firelans at Bois-le-duc, who was 
 accounted the beft artift of his time in that branch. When he had thoroughly eftablifhed 
 himfelf in the beft principles of painting and perfpective, and made a confiderable profi- 
 ciency in mathematical knowledge, he grew defirous to travel, in order to his further 
 improvement, and directed his firft journey to Paris. 
 
 In that city he met with Francifco Mile ; and the fame love to the art, particularly to 
 landfcape, united them in the ftricteft intimacy. Their greateft pleafure conlifted in 
 communicating to each other their obfervations, their reflections, and their difcoveries, 
 which highly contributed to their mutual advantage. Genoels foon became known, and 
 his work procured him refpect and efteem; fo that De Seve engaged him to paint the 
 landfcape in thofe defigns for tapeftry which he was preparing for Mr. Louvois. After- 
 wards he was extremely favoured by Le Brun, who procured him an employment in the 
 King's fervice, with an honourable penfion, and an apartment in the Gobelins j and alfo 
 engaged him to paint the landfcape in thofe celebrated pictures of the battles of 
 Alexander. 
 
 L 1 When 
 
GEN 
 
 C 254 J 
 
 GEN 
 
 When Genoels quitted France, he had an impatient longing to vifit Italy ; and after 
 he had fpent a few years at Antwerp, where his paintings were very much admired, he 
 went to Rome. For fome years he refided in that city, and devoted feveral month* 
 annually to retire to the villas about Rome, in order to ftudy after nature. He obferved 
 the trees, fkies, rocks, ruins, villas, and buildings; from which he made fketches, to 
 fupply him with materials for his future compofitions. And while he was at Rome, he 
 painted the portrait of Cardinal Rofpigliofi, and alfo a few landfcapes for the Spanifh 
 Ambaffador. 
 
 Having finifhed his ftudies in Italy, he returned to France, and complimented Le 
 Brun and Colbert with many of thofe curious defigns which he had fketched near 
 Rome; and notwithstanding the large offers of thofe great men, to induce him to con- 
 tinue with them, the love of his native country prevailed over all other confiderations; 
 and he fpent the latter part of his life in his native city, greatly honoured and efteemed, 
 having lived to a very advanced age.* 
 
 There certainly cannot be a more convincing proof of the abilities of Genoels, than- 
 to obferve, that De Seve and Le Brun, as well as other eminent matters,, employed, 
 him for the landfcape in their works. The pictures which he defigned and finifhed, fhew 
 tafte and genius ; and it is eafy to perceive, by the truth of every object he reprefents, 
 that he had carefully and curioufly ftudied nature. As to his portraits, they will not 
 defervedly admit of much commendation ; but in landfcape, which was his chief excel- 
 lence, his colouring was natufal and ftrong, and the execution eafy and free ; nor had 
 he any thing of the mannerift in any of his works, for every touch of his pencil varies, 
 according to the difference of the objects he reprefents. 
 
 Ludovicus GENTILE. 
 Painted Hi/iory and Portrait. 
 
 DIED 167O, AGED 64. 
 
 This painter was born at Bruffds, in 1606, and learned the rudiments of the art in- 
 that city ; but he travelled to Italy, and lived at Rome for thirty years. He was. 
 remarkable for a peculiar politenefs of manners, and genteelnefs of drefs, and likewife 
 for aflbciating with perfons of the firft rank, who, on account of his talents and accom- 
 plifhments, folicited his acquaintance. And it was principally on, that account that 
 he acquired the name of Gentile, by which he is generally known; for his real name 
 was Ludovicus Primus, or Primo; though fome writers think it was given him byway 
 of diftinction, on account of the elegant forms of his figures. 
 
 He painted portraits in a neat and delicate ftyle, and finifhed them exquifitely ; yet he. 
 poffeffed fo much (kill and power of his pencil, as to conceal that abundant labour which 
 he bellowed on every one of them. The portrait of Pope Alexander VII. gained hiin 
 very high applaufej and while he lived in Rome, moft of the Cardinals and Nobility 
 
 £ were 
 
GEN 
 
 [ *55 ] 
 
 GEN 
 
 were painted by him, his pictures being accounted worthy of a place in the richeft 
 collections among the beft matters of Italy. 
 
 ft feems fomewhat unaccountable, that this artift fhould fo particularly apply himfelfto 
 portrait-painting, when he was extremely well qualified to compofe hiftorical fubjects, 
 with equal merit and fuccefs. In that flyle, his tafte of defign was good, his penciling 
 free and broad, and his colouring ftrong; but in every refpect fo different from his 
 portrait manner, that one could with difficulty be induced to believe that the fame 
 pencil executed the one and the other. In the parifh church of St. Michael, at Ghent, 
 there is a grand altar-piece, reprefenting the Crucifixion, which will convince every 
 judicious eye, that Gentile was an extraordinary great matter. 
 
 Orzio GENTILESCHL 
 
 Painted Hijlory. 
 
 DIED 1647, AGED 84. 
 
 He was born at Pifa, in 1563, and was a difciple of Aurelio Lomi, his half brother, 
 He diftinguifhed himfelf greatly by his works at Florence, Genoa, and Rome, as like- 
 wife in France and Savoy; and fo great was his reputation, that he was invited by King 
 Charles I. to the Court of London, where he had a confiderable appointment, together 
 with apartments in the palace ; and was employed in feveral works for that Monarch, 
 particularly at Greenwich in painting cielings. 
 
 Sandrart, who was his moft intimate friend, and who happened to be in London, when 
 Gentilefchi was there, defcribes a few of his pictures, which were painted for the King, 
 in the higheft terms of commendation, having feen them, and carefully examined them. 
 One was the picture of Mary Magdalen, proftrate on the ground, with fuch a character 
 of devout compunction and divine meditation, as could not be more feelingly exprefled 
 by any artift. Another picture was a holy family, reprefenting the Virgin fitting on the 
 ground, with the infant at her breaft, and Jofeph in a fupine attitude retting his head on 
 a fack ; which picture, in regard of the drawing, the defign, the colouring, and the dif- 
 pofition, as alfo for the appearance of nature and truth, was juftly to be admired. The 
 third which Sandrart mentions was Lot, fleeping on the bofom of one of his daughters, 
 while the other is attentively obferving them; and the whole was fo happily executed, as 
 to be equal to the performance of any matter. 
 
 After the death of the King, when the valuable collection of that unfortunate Monarch 
 was pillaged, and expofed to fale, by Cromwell, nine pictures of Gentilefchi, which were 
 in the palace, were fold for fix hundred pounds j and are now faid to be the ornaments 
 of the hall at Marlborough-houfe. He attempted to paint portraits, but was very 
 unfuccefsful, as his greateft power lay in compofing hiftorical fubjects, with figures as 
 large as the life. The moft capital performance of this matter is the portico of the 
 palace of Cardinal Bentivoglio, at Rome. 
 
 L 1 2 Artemisia 
 
GEN 
 
 C 256 ] 
 
 G E R 
 
 , Artemisia GENTILESCHI. 
 
 Painted Portrait and Hiftory. 
 
 "She was the daughter and difciple of Orazio Gentilefchi, and proved far ftperor to 
 him in portrait-painting, though fhe did not equal him in hiftory ; yet foime connofleurs. 
 accounted her, even hiftory, very little inferior. 
 
 In hiftorical compositions, her ftyle was like that of her father, with figures as la-ge as, 
 life ; and the raoft celebrated picture of her hand, is the Victory of David over G>liath.. 
 She had the honour to paint the portraits of fome of the royal family ait Londoi, and 
 great number of perfons of the firft rank. • 
 
 Sir Balthasar GERBIEL 
 Painted Portrait in Miniature. 
 
 DIED l66l, AGED 69. 
 
 He was born at Antwerp, in 1592, and arrived at a confiderable degree of merit n his 
 miniature paintings. He was employed by Charles I, who expreffed a great efteetn for 
 his works; and, at the recommendation of the Duke of Buckingham, conferred or him 
 the honour of knighthood, and appointed him his refidentat Bruflels ; in which employ- 
 ment he was for a long time continued, and he difcharged that office with credi; and 
 probity. 
 
 Simon GERMYN. 
 
 Painted Fruit and La ndj capes* 
 
 DIED I719, AGED 69. 
 
 , He Was born at Dort, in 1650, and was a difciple of Godfrey Schslcken, though 
 afterwards he ftudied under Lodowick Smits, called Hartcamp, of whom he learned a 
 peculiar manner of painting fruit, as is mentioned in the account of Sr.iits. And in 
 reality he made great advantages by his works in that ftyle, at the beginning-; as his 
 mafter Smits had done before him. However, the fuccefs was not of any long continu- 
 ance ; for by his method of fcumbling, blending, and torturing his colours, mixing thofe 
 that were durable with thofe that were perifhable, his paintings, like thofe of his mafter, 
 foon faded, and loft their original luftre ; and his- pictures funk into difefteem. For 
 which reafon he applied himfelf entirely to the painting of landfcapes, -which he prac- 
 tifed as long as he lived. 
 
 GERRARD of Haerlem. 
 Painted Hiftory. 
 aged 28. 
 
 He was born at Haerlem, and was a difciple of Albert Van Ouwater, oie of the firft, 
 after John Van Eyck, who painted in oil ; and when he had pra&ifed uncr that mafter 
 
 for 
 
G E R 
 
 [ 257 ] 
 
 GER 
 
 for a fhort time, he fhewed fuch freedom of hand, fo firm an outline, and fuch an 
 expeditious manner of coulouring, that his mafter ufed to fay he was born a painter. In 
 many parts of his profeflion he was equal to his mafter; but in defign, expreflion, and 
 the difpofition of his fubje&s, he was far fuperior. He underftood perfpective extremely 
 well, and was confidered by his cotemporaries as one of the beft painters of his time. 
 
 For the church of St. John, at Haerlem,, he painted a Defcent from the Crofs, which 
 was efteemed an exquifite performance. The expreiTion of the different paflions in the 
 countenances of the Virgin and the Apoftles is admirable; and the whole is furprifingly 
 beautiful. Albert Durer, who went to Haerlem to fee the works of Gerrard, faid that 
 he muft have been a remarkable favourite of nature who could fo early arrive at fo great, 
 a degree of perfection. 
 
 Christofaro GERARDI, called D'al Borgo S. Sepulchro- 
 
 Painted Hi/lory, Land/cape^ and Grotefque. 
 
 died 1556, aged 56. 
 
 , He was born at Florence, according to the teftimony of fome authors, and at BorgO' 
 San Sepulchro according to others, in the year 1500. From his infancy he indulged- 
 himfelf in the practice of drawing and defigning; and without any inftruction or amftance, 
 except that of his own natural genius, he had, at the age of fixteen, made fuch a progrefs 
 in painting and defigning different fubjects, and alfo mewed fomewhat fo graceful in his 
 manner, that he was confidered as a prodigy. Some of his performances happening to 
 fall under the obfervation of Raphael dal Colle, that artift was fo much pleafed and 
 furprifed with the tafte and execution of them, that he took Chriftopharo under his own 
 care, admitted him as one of his difciples, and directed his hand and his judgment, till, 
 his pupil proved a very eminent mafter. 
 
 Chriftofaro fpent fome years in the army; but he forfook the military life, to devote 
 himfelf to painting j and became an univerfal artift, in not only defigning hiftorical 
 figures, but alfo landfcapes, birds, beafts, fifties, and particularly excelled in grotefque. 
 He finifhed a great number of works at Rome, Naples, and Florence, which are greatly 
 admired; and, ;n conjunction with Giorgio Vafari, executed many noble defigns in 
 frefco, as well as in oil, that were an equai honour to both artifts. 
 
 Mark GERARDS. 
 Painted Portrait^ Hi/lory, and Landfcape. 
 
 DIED J635, AGED 74. 
 
 This painter vas born at Bruges, in 1561 ; and about the year 1580 went to England, 
 where he was appointed principal painter to Queen Elizabeth. 
 
 2 He 
 
GER 
 
 C 258 ] 
 
 G H E 
 
 His pictures are generally neatly handled, and his carnations thin, light, and of 
 a bluiih tint. He painted the proceflion of the Queen and Knights of the Garter in 
 1584; and although the portraits were fmall, they had a great refemblance of the perfons 
 reprefented, with an uncommon fidelity as to their air and ftature. 
 
 Gerard Pietersz Van Zyl, called GERRARDS. 
 Painted HiJiory y Portrait^ and Conventions. 
 
 DIED 1667, AGED 60. 
 
 This artift was born at Amfterdam, as fome writers affirm, or at Leyden, according 
 to others, in the year 1607, and is known by the name of Gerrards. He learned the 
 art of painting in his own country, but went to England to practife it j and happened to 
 live in the fame houfe with Vandyck, with whom he cultivated an intimate friendfhip. 
 By his having fo fortunate an opportunity of obferving the penciling of that inimitable 
 mafter, he ftudioufly laboured to imitate his manner of handling and colouring; and 
 proved fo happy in his endeavours, that, after the death of Vandyck, he returned to 
 Amfterdam, and rofe into fo high a reputation, that he was diftinguifhed by the name of 
 the fecond Vandyck. 
 
 His moft ufual fubjedts were portraits, which he generally defigned in the hiftorical 
 ftyle, after the manner of converfations ; and he always gave his figures fuch draperies as 
 were fuitable to the modes of the times. The hands of his women are particularly 
 excellent, as well for the roundnefs and fine outline, as for the delicacy of the colouring, 
 a circumftance which is peculiarly obfervable in the works of Vandyck. 
 
 One of the beft pictures of this mafter, is the Prodigal Son, which has a fenfible and 
 ftrong exprefiion, and is alfo excellently coloured. 
 
 Pier Leone GHEZZI, called Cavalier Ghezzi, 
 Painted Hijiory and Portrait, 
 
 DIED 1755, AGED 8l. 
 
 He was born at Rome, in 1674, and inftructed in defign by his father (Giufeppe 
 Ghezzi, who was a painter), till he was properly eftablifhed in that knowledge; and 
 then he was taught the art of colouring and penciling, not only in oil, but in frefco. And 
 there are feveral paintings, executed by him in his early time, in which may be feen an 
 exact obfervance of thofe rules prefcribed by Giufeppe, which are cuftomarily practifed by 
 the beft and moft correct artifts of the Roman fchool. 
 
 His merit recommended him to the favour and protection of Cardinal Albani, who 
 employed him in feveral confiderable works ; and that Cardinal, being afterwards elected 
 Pope, became the patron of Ghezzi, and appointed him to adorn the gallery of Caftel 
 Gandolfoj as alfo to paint the Prophet Micah, one of the twelve, in the church of 
 
 St. John 
 
G H I 
 
 E 259 j 
 
 G H I 
 
 St. John Lateran. By thofe, and other grand performances, his reputation was fo 
 effectually eftabliflied through all Italy, that Francis I. Duke of Parma, engaged him in 
 his fervice; and was fo exceedingly pleafed with his performances, that he created him a 
 Count, and conferred on him the Order of the Golden Spur. 
 
 If at any time he painted portraits, he undertook them unwillingly ; for, where he 
 could difengage himfelf without difobliging, he always endeavoured to do it ; and yet 
 thofe portraits which he did finifh, might ftand in competition with thofe of the beft artifts 
 in that ftyle. His principal works are in the apartments and chapels of the Pope, the 
 Cardinals, and the prime Nobility of Rome; by whom he was held in the higheft 
 efteem. 
 
 Domenico GHIRLAND AIO. 
 
 Painted Hijiory and Portrait. 
 
 DIED 1493, AGED 44. 
 
 He was born at Florence, in 1449, and originally bred to the trade of a goldfmithj. 
 but having a ftrong natural inclination to painting, and a good tafte, he applied himfelf 
 with fingular induftry to arrive at the knowledge of the art, and placed himfelf as a 
 difciple with Aleflandro Baldovinetti. After fome years fpent in clofe application, he 
 proved a very eminent artift, and gradually increafed his reputation, till he was confidered 
 as one of the beft painters of his time. 
 
 The firft work by which he diftingui filed himfelf was in a chapel belonging to tl e 
 Vefputian family j in which he introduced the portrait of Americus Vefputius, the 
 celebrated navigator, after whom the weftern world is named. Vafari enumerates a 
 multitude of his works at Florence, Rome, Pifa, Lucca, and Siena, in all which cities 
 he was exceffively applauded and carefled. However, although he juftly deferved to be 
 refpected on account of his own merit, yet he derived a ftill greater degree of honour 
 from his being the mafter of Michael Angelo Buonarotf. 
 
 His invention was fertile and ready, his compolition judicious; and he painted 
 architecture perfectly well. But he had fomewhat dry and ftiff in his manner, with 
 which the eye of a connoifTeur muft ever be difpleafed. He rarely painted any hiftorical 
 fubject, without introducing portraits after the life; and fome particular parts in his 
 compofitions, that were perfpectively reprefented, had a very good effect, making all 
 allowance for the time in which he flourifhed. 
 
 He was fond of defigning all the curious antiquities of Rome, the baths, columns, 
 obeliiks, arches, aqueducts, and amphitheatres ; which he drew fo exactly, only by- 
 looking at them, that the proportions of every part or member, had as true a proportion 
 to the whole, as if he had executed the drawin by a fcale and compalTes. And it is 
 mentioned as an extraordinary inftance of the accuracy of. this mafter, that having made- 
 a drawing of the ColofTeum, he defigned one upright figure fo truly proportioned to the- 
 
 building* 
 
G H I 
 
 [ 260 ] 
 
 G H I 
 
 building, that when, out of curiofity, that figure and the building were critically meafured 
 by rule, the whole, and every part, was found to correfpond with the proportion of 
 that figure. 
 
 Rodolfo GHIRLANDAIO. 
 
 Painted Hiftory and Portrait. 
 
 DIED I560, AGED 75. 
 
 He was born at Florence, in 1485; and having been inftru&ed by his uncle David 
 Ghirlandaio in defign and colouring, he went to Rome ; where he had the happinefs of 
 being beloved by the incomparable Raphael, of being alfo a favourite of Michael Angelo 
 Buonaroti, and of being fo much improved in his tafte of compofition, as to be accounted, 
 at his return to Florence, one of the beft defigners of his time. 
 
 His colouring was excellent; but he acquired that perfection, not from the inftruction 
 or example of his uncle, but from having been the difciple of Bartolomeo di S. Marco. 
 At Rome he was extremely admired, and conftantly employed by the Pope and the 
 principal Nobility; and in Florence alfo he was as highly favoured by the Grand Duke, 
 in whofe palaces there are feveral noble compofitions by Ridolfo. 
 
 Giovanni GHISOLFI, or Gisolfi. 
 
 Painted Perfpeftive Views and Sea-Ports. 
 
 DIED 1683, AGED 60. 
 
 This mafter was born at Milan, in 1623, and received his firfl inftru&ion in painting 
 and perfpe&ive from Girolamo Chignolo; but learned architecture from Antonio Volpini; 
 though he feemed always proud to acknowledge himfelf deeply indebted to Salvator Rofa 
 for his tafte and method of penciling. 
 
 He gave the firft proof of his wonderful abilities, by defigning and painting the grand 
 triumphal arches for the reception of ths Archduchefs of Auftria when fhe was to pafs 
 through Milan ; and foon after he went to Rome, where, with inexpreffible pleafure and 
 induftry, he defigned all the beautiful remains of antiquity, the edifices, ruins, columns, 
 or theatres. Of thofe fketches he made an elegant ufe in his own compofitions, and 
 introduced hiftorical figures fuitable to thofe veftiges of ancient magnificence, or to the 
 different fituations which he chofe ; fo that the whole together appeared full of harmony, 
 and every part was excellent. 
 
 The lightnefs and grandeur of his buildings, the beauty of the perfpective, the judicious 
 <3ifpofition of the figures, the corre&nefs and tafte of his defign, and the truth, nature, 
 and force of his colouring, rendered his works jufHy precious in every part of Europe, 
 and they maintain their reputation and high value even to this day. 
 
 Richarb 
 
G I B 
 
 [ 261 ] G I O 
 
 Richard GIBSON. 
 
 Painted Portrait. 
 
 DIED 169O, AGED 75. 
 
 He was born in England, in 1615, and was placed as a difciple with Francis de Cleyne, 
 from whom he learned to paint portraits in water-colours and in oil ; but he principally 
 worked in the former. He perfected himfelf, however, by copying the works of Sir 
 Peter Lely, and at laft gained a confiderable reputation. Nor was he more diftinguifhed 
 as an artift, than he was remarkable for the minutenefs of his fize, his height being 
 reputedly no more than three feet ten inches; and what was very Angular, he married a 
 woman of the fame height as himfelf. 
 
 It is reported by fome writers, that a picture of this mafter's hand, reprefenting the 
 Good Shepherd, being ftiewn to King Charles II. was fo much admired by that Monarch, 
 that it occafioned the death of Vander Dort the painter. 
 
 He drew the portrait of Oliver Cromwell feveral times ; and had the honour of 
 inftructing Queen Mary, when Princefs of Orange, and Princefs Anne (afterwards 
 Queen of England), in drawing. 
 
 GILLEMANS. 
 
 Painted Fruit and Still Life. 
 
 He was born at Antwerp, about the year 1672, and ftudied after nature thofe objects 
 which he delighted to imitate. His fubjects were fruits of various kinds, particularly 
 grapes, which he always painted in a fmall fize, but with a great deal of truth, and often 
 with a great deal of roundnefs and relief. • 
 
 He had a free and fpirited touch; his objects were well grouped, and his colouring was 
 frequently very natural and lively; but being of fo much fmaller a dimenfion than what 
 the eye is accultomed to fee in nature, his pictures have not an effect equal to the 
 neatnefs of his handling. 
 
 Luc a GIORDANO, called * L u c a F a Presto. 
 
 Painted Hi/lory and Portrait. 
 
 f died 1705, aged 76. 
 
 This mafter was born at Naples, in 1629, and at firft was the difciple of Giufeppe ue 
 Ribera, called Spagnoletto; but he ftudied afterwards under Pietro da Cortona. When 
 
 M m he 
 
 * The appellation of Luca fa Prefto was accidentally applied to Giordano j not on account of the fjme he had acquired 
 by his expeditious manner of painting, but from the mercenary eagernefs of his father, who fold at a high price the defigns 
 of Luca, which he made after the compofitions of the great mafters, while he purfued his ftUdles. The father of Luca 
 fcarce allowed him time to refrefh himfelf, but ftill faid to him while he was at his meals as well as at his work, Luca, fa 
 Prefto, or., Luca, make hafte j from which expreffion perpetually uttered, his companions gave him the nick- name of Fa Prefto. 
 
 •J- Authors difagree in the dates of the birth, age, and death of Luca Giordano. The writer of the Chronological 
 Tables fixes his birth in 1626, his death in 1694, and his age at 68. In the Abrege de la Vie dcs Peintres, it is laid he 
 
 was 
 
G I O 
 
 [ 262 ] 
 
 G I O 
 
 he quitted the fchool of the latter, he went to Lombardy, to examine the aftonifliing 
 productions of the pencil of Correggio; and then travelled to Venice, to improve himfelf 
 by ftudying the beautiful colouring and grand compofitions of the beft Venetian artifts. 
 There the works of Titian and Paolo Veronefe principally engaged his attention; from 
 the former he learned the force of the chiaro-fcuro, and from the latter, the grandeur and 
 majefty of ftyle which he united with the harmonious colouring of Cortonaj but he 
 chiefly propofed to himfelf Veronefe as his model. 
 
 He had a fruitful and fine imagination, and a moft furprifing readinefs and freedom of 
 hand; his tone of colouring is agreeable, and his defign correct. He ftudied the manners 
 and particularities of the greateft mafters with fuch care and judgment, and pofTefled fo 
 happy a memory, that he not only retained in his mind a diftinct idea of the ftyle of every 
 celebrated mafter, but had the (kill and power to imitate them with fuch a critical exactnefs, 
 as to deceive even the ableft connoifleurs. 
 
 It is a known circumftance of Giordano, that when he was employed at the Spanilh 
 Court, the King mewed him a picture painted by Giacomo Baflan, for which that 
 Monarch feemed defirous to have a companion; and Luca painted one in the manner of 
 Baflan, fo amazingly exact, that the King appeared equally pleafed and furprifed : for 
 which extraordinary performance, as alfo on account of a number of other excellent 
 paintings, the King, to (hew a public teftimony of his efteem for Giordano, conferred on 
 him the honour of knighthood, and favoured him with feveral honorary and valuable 
 employments. 
 
 It is very Angular, that in this mafter we fee fo true a genius ftoop to become a mimic 
 of others. In his early time it might have been the effect of ftudy, andean attempt to 
 arrive at excellence; but we may obferve the fame difpofition of mind in thofe pictures 
 which he painted in the beft periods of his life, many of them being in the peculiar manner 
 of Titian, Tintoretto, Guido, and Baflan. Some of thofe paintings (fays an ingenious 
 modern * traveller) are fo like, that I am well aflured I could point out in the moft 
 capital collections in England, fome called Titian's, which are inconteftably no more 
 than the fportings of Giordano's pencil. 
 
 In one of the galleries of the Marquis Peraltra, at Milan, are to be feen feveral heads 
 by Giordano, in the different manners of the Italian mafters. They are extremely fine, 
 and one in particular of St. Gregory, in the manner of Guido. The grand altar-piece 
 in the church of the Afcenfion, at Naples, is accounted one of the beft performances of 
 Giordano. It reprefents the Battle of the Angels, and the Fall of Lucifer; St. Michael 
 ftands in a noble attitude, with his feet upon Lucifer, both figures being fupported by the air 5 
 two of the evil fpirits feem loaded with the throne of that prince, which is tumbling along 
 with them towards the abyfs; and there are a multitude of figures below, which appear 
 already driven into punifhment. The colouring of this picture is wonderfully beautiful, 
 
 frefib 
 
 was born in 1632, died in 1705, aged 73 ; but Velafco affirms that he was born in 1629, and died in 1705, at the age 
 of 76 j and his authority feems to me to have the greatelt weight, though the reader is at liberty to determine as his own 
 judgment may diredt him. 
 
 • Letters from the Eafts 
 
G I O 
 
 C 263 ] 
 
 G I O 
 
 frefh, and brilliant, and has a moft {hiking effect, by the brightnefs of the local colours. 
 There are likewife in the Palazzo Durazzo a dying Seneca in the Bath, the Martyrdom 
 of a Saint, and the conteft between Perfeus and Demetrius, which juftify all the honours 
 and riches beftowed by Monarchs on this great painter. 
 
 GIORGIONE, del Castel-Fr anco, 
 Painted Hijiory, Portrait^ and Landfcape. 
 
 DIED 1511, AGED 33. 
 
 He was born at Caftel-Franco, in the Venetian territory, in the year 1478, and learned 
 the art of painting from Giovanni Bellini ; though, in a few years, he proved far fuperior 
 to his mailer. He carefully ftudied and defigned the works of Lionardo da Vinci, and 
 from them derived his firft notions of the force of well-adapted lights and madows, to add 
 life and fpirit to his figures ; till, by frequent experiments, he produced fuch a new and 
 animated ftyle of colouring, as rendered him more admired than all the preceding artifts; 
 and he ftill added to his tafte and judgment by a diligent ftudy of nature, which he imitated 
 with remarkable fidelity in all his compofitions. He was one of the moft eminent 
 painters of his time, and the firfl who obferved the powerful effect of ftrong lights 
 oppofed by ftrong ftiadows, which he practifed with aftonifhing fuccefs; and from 
 him Titian ftudied and improved that enchanting part of painting, till he excelled 
 Giorgione. 
 
 His tafte of defign is delicate, fomewhat refembling the gufto of the Roman fchool ; 
 though he frequently feems more attentive to the roundnefs, than the correctnefs of his 
 figures. De Piles very juftly remarks, that it is a matter of wonder to confider how all 
 of a fudden he foared from the low dry manner of Bellini's colouring, to the fupreme 
 height to which he raifed that lovely part of painting, by joining an extreme force 
 with an extreme fweetnefs. However, when we reflect that nature, and Da Vinci, were 
 his models, and that he had a genius happily qualified to ftudy them judicioufly, we may 
 more eafily account for that excellence by which he was fo eminently diftinguiftied. 
 His pencil was light, eafy, and free; his knowledge of the chiaro-fcuro very extenfive; 
 and his carnations had more the appearance of real fleih, than of being a fine imitation 
 of it. He frequently painted figures at half-length ; and in the portrait ftyle, thofe of the 
 Doges Loredono and Barbarigo are excellent; and his figures cannot but be admired for 
 their bold relief, as well as for the harmony of his colouring, and the charming force of 
 his light and fhadow. 
 
 His landfcapes are exquifite, both for tafte and colouring; and he found out fome fecret 
 to keep his colours frefh and lively, efpecially the greens. His works are held in the 
 higheft efteem; the greateft part of them were grand compofitions infrefco; but his 
 eafel pictures were few, and as well on account of their fcarcity, as of their merit, they 
 are exceedingly valued. 
 
 M m z At 
 
G I O 
 
 I 2*4 ] 
 
 G I O 
 
 At Venice there is a picture by Giorgione, reprefenting Chrift bearing his Crofs,. 
 which is held in a kind of veneration; and in the Palazzo Sagredo, in the fame city, is 
 preferved a portrait, painted in a ftyle that is wonderfully grand. 
 
 GlOSEPPINO. Vid. Arpino, 
 
 GIOTTO. 
 
 Painted HiJlory y Portrait^ and Mofaic. 
 
 DIED 1336, AGED 60. 
 
 This ancient artift was born at Vefpignano, in 1276, and was a difciple of Cimabue? 
 but he was far fuperior to his matter in the airs of his heads, the attitudes of his figures, 
 and in the tone of his colouring. He had fufficient judgment, to diveft himfelf of the 
 ftiffnefs of his own mafter, and of thofe Greek artifts who had been the inftructors of 
 Cimabue; but could not arrive at fuch a degree of perfection in the art, as to exprefs the 
 tendernefs of the flefh, the ftrength of the mufcles in the naked, or the different paflions 
 of the human mind in the countenances of his figures; except in the Mofaic, which is 
 remarkable for expreflion. 
 
 He was principally admired for his works in Mofaic, the bell: of which is over the 
 grand entrance of St. Peter's church at Rome. The obfervation of Alberti on that 
 picture is, that in the fliip of Giotto, the expreflion of the fright and amazement of the 
 difciples at feeing St. Peter walk on the fea, is fo excellent, that each of them feem to give 
 fome peculiar mark of the terror of his mind, and alfo of his particular thoughts, by a 
 different attitude of his body. 
 
 At Florence is the famous Mofaic of the Death of the Virgin, fo highly commended by 
 Michael Angelo Buonaroti ; and Vafari fays, that his works were univerfally admired, for 
 the corre£tnefs of the figures, for their proper difpofition, and for eafy, natural attitudes. 
 In a chapel at Padua there are feveral fubjects taken from the New Teftament, particularly 
 a Crucifixion, and the calling lots for the vefture of Chrift, which are painted in frefco. 
 Nothing of the ftiff manner of Cimabue, or of the Greek painters, appears in this work : 
 the attitudes are juft, and many of them graceful; but the naked figures are by no means 
 equal to thofe that are clothed. 
 
 Tomaso GIOTTINO. 
 Painted Hiftory. . 
 
 DIED I356, AGED 32. 
 
 He was born at Florence, in 1324; and his name was originally Tomafo di Stefano, 
 being the fon of Stefano Florentine* but he was called Giottino, from the great 
 
 refemblance 
 
G I O [ 265 ] G L A 
 
 refemblance between his flyle and that of Giotto. He received his firft inftruction in the 
 art of painting from his father ; but he was fo enamoured with the works of Giotto, and 
 at laft imitated his manner with fo much fuccefs, that in many refpects he furpafled him. 
 His tafte of defign, his ideas, and his invention, were fo exactly like that great artifl, that 
 it was a matter of fome difficulty and fkili to determine between the works of the one or 
 the other; fo that it was ulually faid, the foul of Giotto animated Tomafo. 
 - The pains he took to flnifh his pictures as high as poffible, with an extraordinary 
 neatnefs and harmony of colour, procured him general applaufe, and made his performances 
 exceedingly admired; for he was fo peculiarly delicate as to make the different fluffs of 
 his draperies eafily difcernible; and yet he preferved in thofe parts, as alfo in the 
 difpofition of his figures, grace united with judgment. 
 
 GIOVANNI da San Giovanni. Vid. Mannozzi. 
 
 Antonio GIUSTI. 
 Painted Hijlory^ Land/cape, and Animals. 
 
 DIED I705, AGED 8l. 
 
 He was born at Florence, in 1624, and fucceffively became a difciple of Caefare Dandini, 
 and Mario Balaffi. 
 
 His invention was uncommonly fruitful and lively, and his genius univerfal; for with 
 equal fpirit and beauty he painted landfcapes, animals, and hiftory ; and in the latter, his 
 figures were not only elegant, but correctly defigned, and admirably coloured, with a free 
 and a firm pencil. 
 
 John GLAUBER, called Polidore- 
 Painted Landfcape. 
 died 1726, aged 80. 
 
 He was born at Utrecht, in 1646, and placed as a difciple with Nicholas Berchem, 
 under whom he made a very rapid progrefs. Yet he was not more charmed with the 
 works of his celebrated mafter, than with the landfcapes of the great artifts of the Italian 
 fchool, which he had an opportunity of feeing with Vylenbourg, who traded in pictures. 
 With him therefore Glauber fpent fome years in ftudying and copying the works of the 
 beft painters of Italy, which were in the poffeffion of Vylenbourg. 
 
 He then determined on a journey to Rome, and took along with him a younger brother, 
 who was only fifteen years of age. In his route he flopped at Paris, and ftaid one year 
 with Picart, a flower-painter; and at Lyons he fpent two years with Adrian Vander 
 Cabel; nor would he have quitted the latter for fome years longer, if the great concourfe 
 
 of 
 
G L A 
 
 [ 266 ] 
 
 GLA 
 
 of people who were going to the jubilee had not tempted him directly to Rome. In that 
 citv he ftudied for two years, not neglecting any thing that might conduce to his improve- 
 ment ; and continued as long at Venice, to perfect himfelf in colouring. 
 
 At his return to his own country, he fettled at Amfterdam, and lodged with Gerard 
 Laireffe ; and thofe two artifts having the fame love to their profeflion, the fame elevation 
 of fentiments, and a fimilarity of genius, improved by travelling through the fame 
 countries, became united in the fir'meft bonds of friendfhip ; and there are beautiful land- 
 fcapes of Glauber's, painted at that time, which are enriched with elegant figures by 
 Laireffe. 
 
 Glauber is accounted one of the fineft landfcape-painters among the Flemings : his 
 tafte and manner are entirely of the Italian fchool; his fcenes are generally taken from 
 the lovely views in the neighbourhood of Rome, and fometimes from fituations near the 
 Alps. His colouring is warm, true, and excellent; his invention fertile; his pictures 
 exquifitely finifhed; and at the fame time there is fuch an appearance of eafe and freedom, 
 that they do not feem to have coft much pains. His touch is fo particularly neat, that 
 every diftinct fpecies of trees, or plants, may be diftinguifhed by the exactriefs of the 
 leafing; and, by a happy management of the aerial perfpective, his diftances recede in a 
 natural and pleaiing manner. Many of his paintings and defigns are in the ftyle of Gafpar 
 Pouflin. 
 
 His pictures ufually bear a considerable price, efpecially when they have that additional 
 merit, of the figures by the hand of Laireffe. 
 
 John Gotlief GLAUBER. 
 
 Painted Sea-ports, Landfcapes, and Architecture. 
 
 DIED I703, AGED 47. 
 
 He was the brother and difciple of John Glauber, born at Utrecht, in 1656, and was 
 alfo a difciple of Jacob Knuyf, at Paris. He travelled with his brother to Rome, and 
 refided there for two years, diligently obferving whatever he thought worthy of his ftudy 
 or imitation; and afterwards vifited Venice, where he devoted all his hours to his improve- 
 ment, painting after nature, and after the beft pictures of the moft eminent in the 
 profeflion. At his return to Holland his works were foon noticed, and much admired, as 
 well for their tafte of defign, as the excellence of their finifhing; and his pictures are very 
 often miftaken for thofe of his brother. 
 
 Although this painter had a neat touch, and a delicate pencil, when he employed himfelf 
 on cabinet pictures ; yet he mewed a noble freedom of hand, and a touch full of fpirit in 
 thofe large works which he executed in grand halls and falons. One of his capital 
 landfcapes is in the palace of the Prince of Orange at Soefdyk; which is exquifitely 
 defigned and finifhed, the figures being painted by Laireffe. For feveral years he followed 
 his profeflion at Vienna, and afterwards at Prague, but he fettled at Breflau; and the 
 
 3 greateft " 
 
GLA 
 
 C a6 7 3 
 
 GOB 
 
 greateft part of his eafel pictures are in different parts of Germany. In his landfcapes, 
 his fituations are pleafant, and well chofen; and generally they are taken from nature. 
 The Italians are very fond of his defigns, and they gave him the name of Myrtillus, on 
 account of the paftoral fubjects which he delighted to paint. 
 
 Frequently he painted fea-ports, in the manner of Knuyf, his mailer; and likewife 
 pieces of architecture, which he adorned with figures correctly defigned, and well difpofed. 
 His colouring is warm and true ; and his reputation is fo thoroughly eftablifhed in 
 Germany, and the Low Countries, that he is ranked among the number of the beft artifts 
 of his time. 
 
 Diana GLAUBER. 
 
 Painted Portrait and Hijiory, 
 
 She was the filler of John and Gotlief Glauber, born at Utrecht, in 1650. She 
 principally profefled portrait-painting, and in that ftyle rofe to a degree of diftinction ; 
 but me alfo defigned hiftorical fubjects, till lhe was rendered incapable of handling the 
 pencil, by being accidentally deprived of her fight. 
 
 Pietro Paolo Cortonese, called GOB BO. 
 Painted Fruit and Landscape. 
 
 DIED 164O, AGED 60. 
 
 This eminent painter was born at Cortona, in 1580, and learned the principles of 
 defign from his father ; but was afterwards the difciple of one Crefcentio at Rome, and 
 perfected himfelf in the moft efTential parts of his profeffion, by ftudying after nature, 
 with judgment and accuracy. His merit fodn recommended him to the notice and efteem 
 of the moft able judges at Rome ; and as he excelled equally in painting fruit and land- 
 fcape, he found a generous patron in Cardinal Borghefe, who employed him to adorn his 
 palace. 
 
 The fruit which he painted had fo true and expreffive an imitation of nature, that 
 nothing could poffibly be more exact: ; and by his thorough knowledge of the chiaro- 
 fcuro, he gave an extraordinary roundnefs and relief to every object. But his greateft 
 excellence confifted in his colouring ; for, in defign, he was not remarkably fuperior to 
 others. 
 
 No painter can be more admired than this matter, as all the fubjects he painted are 
 admirably relieved, touched with a fpirited and free pencil, and charmingly coloured. 
 However, moft of the Italian writers on this fubject feem rather too florid in their com- 
 mendation of his works, when, as a part of their encomium, they compare him to 
 Zcuxis among the ancient artifts of Greece. 
 
 Andrea 
 
GOB 
 
 [ 268 ] 
 
 G O E 
 
 Andrea GOBBO. 
 Painted Hi/lory. 
 
 DIED I527, AGED 57. 
 
 He is fuppofed to have been born at Milan, about the year 1470, and is only memorable 
 for his agreeable manner of colouring, for the neatrtefs of his pencil, and the labour he 
 beftowed on finifhing his pictures very highly. 
 
 GOBBO. Vid. Caracci. 
 
 Margarita GODEWYCK, 
 Painted Land/capes and Flowers. 
 
 DIED 1677, AGE D. SO. 
 
 She was born at Dort, in 1627, and was inftrudted in the principles of painting by 
 Nicholas Maas. She acquired a fine tafte for painting landfcapes, which flie ingenioufly 
 diverfified with views of rivers, cafcades, villages, groves, and diftant hills, that ren- 
 dered her compofitions very pleafing. 
 
 This lady was not more admired for her paintings in oil, than fhe was for her working 
 with a needle, the very fame kind of fubjects which fhe exprefled by her pencil, with an 
 equal appearance of nature and truth in both ; particularly flie worked flowers in em- 
 broidery, to the greateft perfection. 
 
 Hugo Vander GOES. 
 Painted Hijiory. 
 
 He was born at Bruges, and became a difciple of John Van Eyck, from whom he 
 learned the art of painting in oil 3 and according to Sandrart, he flourifhed about the 
 year 1480. 
 
 He had an extraordinary genius, and gave a great deal of elegance and grace to the 
 heads of his figures, efpecially to the female; and finished his pictures with almoft inex- 
 prelfible neatnefs of pencil. The fore-grounds of his paintings are ufually enriched with 
 plants, pebbles, and herbage of various kinds, imitated from nature, in a curious and 
 exact manner. A great number of his works are preferved at Bruges; particularly a 
 picture of Abigail and her Maids in the prefence of David; in which the compofition 
 and expreflion are wonderfully fine; and the becoming modefty of the women cannot be 
 fufficiently commended or admired. 
 
 2 
 
 Hubert 
 
G O L 
 
 [ 269 J 
 
 G O h 
 
 Hubert GOLTZIUS. 
 Painted Hi/lory. 
 
 DIED 1583, AGED 63. 
 
 •He was born at Venlo, in 1520, and was a difciple of Lambert Lombard; but having 
 copied feveral defigns from the antique, under the dire&ion of his matter, it infpired him 
 with an ambition to ftudy after the originals, and for that purpofe he travelled to Rome, 
 where he refided for a confiderable time. 
 
 That city furnifhed his genius with ample materials for future compofitions in 
 painting, and added abundantly to his literary knowledge, which enabled him to 
 inveftigate many curiofities in coins and medals ; and he afterwards learnedly digefted, 
 and publifhed them, with critical annotations. At Antwerp, he painted the hiftory of J-afon ; 
 but his pictures are exceedingly rare, although it is imagined that he painted a great 
 number. 
 
 It was obferved by fome of his cotemporaries, that he had the talents, the knowledge, 
 the patience, and the domeftic vexations of Socrates. 
 
 Henry GOLTZIUS. | 
 Pointed Hijlory and Portrait* 
 
 DIED 1617, AGED 59. 
 
 He was born at Mulbrack near Venlo, in 1558, and at firft was inftru&ed by his 
 father, who painted on glafs, though afterwards he learned defign from Jacques 
 Leonhard; but his own genius and application raifed him to that confiderable rank 
 whkh he held among the beft artifts of his time, for painting, and alfo for engraving. 
 He travelled through feveral parts of Italy, having an eager defire to accomplifh himfelf 
 by his ftudies at Rome ; and, on his arrival in that city, he aflumed the name of Henry 
 Bracht, to conceal himfelf, and his talents, as much as poffible, in order to avoid inter- 
 ruption, till he thought himfelf capable of appearing to advantage. He was indefatigable 
 in examining, ftudying, and defigning the fineft of the antiques, and devoted his whole 
 attention to that one point. That he might not omit any thing that "could poflibly 
 contribute to his improvement, he frequently failed in the Pope's and the Neapolitan 
 gallies, to obferve the fwellings and depreflions of the mufcles of the flaves,. and the 
 turn of their limbs, as they laboured at the oar ; and alfo made many defigns after 
 Raphael and Polidoro, as well as after the antique. Yet, notwithftanding all thofe 
 afliftances, his invention cannot be much commended; his tafte of defign is neither 
 elegant, nor natural ; and very often there is fomewhat irregular and wild in his manner. 
 His colouring is clear, but it is rather cold; and the extremities of his figures are 
 generally extravagant, or at kaft very fingular and conftrained, as well as his attitudes. 
 
 N n Although 
 
G O Y 
 
 [ 270 ] 
 
 G O Y 
 
 Although he did not begin to paint till he was fo far advanced in life as to be near 
 forty, yet it is incredible what a number of pictures he finifhed. He had an art, 
 peculiar to himfelf, of giving a delicate glazing and tranfparence to his colours ; and he 
 afterwards touched them in fuch a manner as to give them a great effect. One picture 
 of Goltzius is mentioned with high commendation; the fubject of it is Danae j on one 
 fide of her is a figure reprefenting Mercury, and another of an old Woman. In that 
 picture the naked is well underftood, and the colouring is natural. 
 
 As his works were very numerous, his execution muft have been remarkably ready; 
 for it is thought that no artift, in fo ftiort a compafs of years, ever drew as many 
 defigns as came from his hand. He engraved feveral prints after his own paintings, 
 and imitated, in that way, the manners of many different mafters ; fuch as Floris, 
 Hemfkirk, Blockland, or Sprangher; and after the latter, he engraved the grand compo- 
 fition of the Banquet of the Gods. 
 
 I cannot deny a place to a memorable adventure of this mafter, as it may afford the 
 reader fome evidence of his talents and his fpirit. Goltzius had been told, that fome 
 connoiffeurs depreciated his works, and would not allow them by any means to be com- 
 pared with thofe of Albert Durer. Being therefore piqued by a cenfure which appeared 
 to him very unmerited, he engraved a defign of the Circumcifion, in the ftyle and 
 manner of Albert ; and took care not to lofe a fingle proof. When the plate was finifhed 
 to his fatisfaction, he ftruck off only one print, which he difcoloured with fmoke, to give 
 it an appearance of age, and burned the part where the mark of the engraver is ufually 
 fixed ; and the print he fent among others to the fair at Franckfort. 
 
 The connoiffeurs faw with furprife that print, and immediately concluded it to be of 
 Albert's own hand; declaring that the fuite of his works was incomplete without it. 
 But when Goltzius had fufficiently amufed himfelf with their conjectures, and pofitive 
 declarations about it; to mortify them effectually, he fliewed them the plate of his own 
 engraving, to let them fee what incompetent judges they were of the works of artifts, 
 and how imperfect their boafted difcernment muft appear to all the world. 
 
 John Van G O Y E N. 
 Painted Land/capes, Cattle, and Sea-pieces, 
 
 DIED 1656, AGED 60. 
 
 He was born at Leyden, in 1596, and was for fome time inftructed by Ifaac Nicholai, 
 who was reputed a good painter ; but afterwards he fucceffively became the difciple of 
 William Gerretfen, and of Efaias Vandervelde, the molt celebrated landfcape-painter of 
 his time. Van Goyen very foon rofe into general efteem, and his works are more 
 univerfally fpread through all Europe, than the works of any other mafter; for in 
 painting he was indefatigable, and he poffeffed an uncommon readinefs of hand and free- 
 dom of pencil. 
 
G O Y 
 
 C 271 ] 
 
 G O Y 
 
 It was his confhnt pleafure and practice to (ketch the views of villages amd towns 
 fituated on the banks of rivers or canals; of the fea-ports in the Low Countries; and 
 fometimes of inland villages, where the fcenes around them appeared to him pleafing or 
 picturefque. Thofe he afterwards ufed as fubjects for his future landfcapes, enriching 
 them with cattle, boats, and figures in character, juftas the livelinefs of his imagination 
 directed. He underftood perspective extremely well, and alfo the principles • of the 
 chiaro-fcuro, which branches of knowledge enabled him to give his pictures a ftrong 
 and agreeable effect. 
 
 His ftyle of painting was natural ; and his fubjects were fea-pieces, or landfcapes with 
 views of rivers, enlivened with figures of peafants either ferrying over cattle, drawing 
 their nets in ftill water, or going to, or returning from market. Sometimes he repre- 
 fented huts of boors on the banks of rivers, with overhanging trees, and a beautiful 
 reflexion of their branches from the tranfparent furface of the waters. Thefe were the 
 fubjects of his beft time, which he generally marked with his name and the year; and 
 the high-finifhed pictures of Van Goyen will be for ever eftimable. But, as he 
 painted abundance of pictures, fome are flight, fome too yellow, and' fome negligently 
 finiflied, though all of them have merit, being marked with a free, expeditious, and 
 eafy pencil, and a light touch. 
 
 His pictures frequently have a greyifh caft, which did not arife from any mifmanage- 
 ment of the tints, or any want of (kill in laying on the colours ; but was occafioned by 
 his ufing a colour called Haerlem blue, much approved of at that time, though now 
 entirely difufed, becaufe the artifts found it apt to fade into that greyifh tint ; and it 
 hath alfo rendered the pictures of this mafter exceedingly difficult to be cleaned, without 
 injuring the finer touches of the finifhing. His beft works are valued fo highly, in moft 
 parts of Europe, and efpecially in the Low Countries, that they defervedly afford large 
 prices, being ranked in Holland with the pictures of Teniers ; and at this time are not 
 eafily procured, particularly if they are undamaged, though his (lighter performances are 
 fufficiently common. 
 
 The rapid execution of this mafter cannot be more effectually defcribed, than by a 
 ftory which is related by Hoogftraten, in the fourth book of his School of Painting. 
 He tells us that Van Goyen, Knipbergen, and Parcelles, had agreed to paint a picture 
 in one day, in the prefence of other artifts their friends, for a confiderable wager ; 
 thofe artifts were to determine which was the beft, and to give the money that was 
 depofited, as a premium to the moft deferving. 
 
 As foon as Van Goyen took the panel, without having made any previous fketch, 
 he firft laid on the light colour for the fky, and then he rubbed on feveral different 
 fhades of brown, laying on mafles of light in the fore-ground in feveral fpots. Ou% 
 of that confufed appearance, he touched every part with wonderful celerity and fpirit, fo 
 as to produce trees, buildings, water, diftant hills, veffels lying before a fea-port, and 
 boats filled with figures properly employed. He finifhed it perfectly before the limited 
 
 N n 2 time, 
 
G R A I 272 ] G R A 
 
 time, to the aftoiiifhment of the fpectators j and it was declared to be an excellent 
 performance. 
 
 Knipbergen proceeded with his work in a quite different manner; for, inftead of 
 beginning to colour his canvas, he iketched on his palette the defign which he had 
 formed in his imagination, and took pains to give it as much correctnels as he poflibly 
 could ; every rock, tree, waterfall, or other object, was difpofed in the manner it was 
 intended to be riniflied in the painting, and he ventured no farther than to transfer each 
 part from the iketch to the canvas. That picture alfo was executed within the time, and 
 allowed by the artifts to be extremely good, as well for the defign, as the colouring and 
 handling* - 
 
 But the method obferved by Parcelles differed from both ; for, when he took his 
 palette and pencils in his hand, he fat for a long time ruminating and reflecting on his 
 fubject; becaufe it was his opinion, that fedate thought and reflexion were full as 
 requifite, before any mafter began his work, as the management of the pencil was 
 afterwards. His compofltion was a fea-piece, admirably defigned and delicately finiftied, 
 within the time appointed. 
 
 When the judges deliberated on the merits of each, the voices were united in favour 
 of Parcelles ; for they obferved, that though the pictures of V an Goyen and Knip- 
 bergen were full of fpirit, tafte, and good colouring, yet, in the picture by Parcelles, there 
 was equal merit as to the handling and colouring, and more truth, as being the refult 
 of attentive thought,, and judicious premeditation. 
 
 A lovely picture by Van Goyen, of his beft time and manner, on which his name and 
 the year are inferibed, is in this city. It reprefents a river or canal j the water remark- 
 ably tranfparent, and affording a beautiful and natural reflexion of the trees, huts, and 
 other objects on the banks, fo that the whole fcene is ftill and folemn.. In different 
 parts are introduced boats, either filled with cattle, or with fifhermen drawing their nets ; 
 but they are kept down fo ^udicioufly, as not to difturb the eye, but contribute to its 
 repofe. This picture is in the poffeflionof Lady Vifcountefs Kingfland. 
 
 Dorothea Henrietta GRAAF. Vid. Sybilla Merian. 
 
 Barent GRAAT, or GRAET. 
 
 Painted Land/cape, Cattle^ Portrait^ and Hijlory. 
 
 DIED I709, AGED 8l. 
 
 He was born at Amfterdam, in 1628, and received his inftruction in the art of 
 painting from his uncle, a painter of animals, who was known by the name of Mafter 
 John. Graat foon fhewed the ftrength of his genius, by his proficiency j and grew 
 indefatigable in his ftudies, particularly in his ftudies after nature. He fpent many 
 hours in the fields, obferving the different effects of light on all the objects around him, 
 
 either 
 
G R A 
 
 C *73 3 
 
 G R A 
 
 either at fun-rifing, at noon, or the clofe of the day; he defigncd every animal with care, 
 and great exactnefs, especially horfes, Sheep, and goats ; and the ideas with which his 
 mind was furnilhed, by that conftant imitation of nature, were fo Strongly imprefTed, 
 and fo frefti and lively, that he compofed his Subjects with eafe, and defigned every thing 
 with fpirit, corredtnefs, and truth. 
 
 He preferred the Style of Bamboccio to all others; and ftudied the manner of that 
 mafter, in regard to his animals, trees, and rural fcenery, with fo great accuracy, that 
 his paintings frequently pafled for the works of Bamboccio. And it is related by 
 Houbraken and Weyerman, that a picture of this mafter was publicly bought, and 
 allowed by all the connoiSTeurs to be indifputably of Bamboccio's hand, till, fome years 
 after, an infcription was difcovered in one corner of it, B. Graet fecit. 
 
 Notwithstanding the applaufes he conftantly received for the performances in his firft 
 manner, yet he quitted it for hiftory-painting, in which he was ambitious to fucceed. 
 And to accomplifti himfelf in that ftyle, he had determined to vifit Rome j but, having 
 married in his own country, that plan of improvement was difconcerted ; although, to 
 compenfate in fome degree for that lofs, he provided for himfelf the beft drawings, prints, 
 and defigns of the great Italian mafters j and all his fubfequent compofitions, as well in 
 portrait as hiftory, were evidences of the refinement of his tafte. 
 
 He held an academy, in the manner of the royal academy at Paris, for fifteen years, to 
 which the beft artifts of his time reforted, to ftudy after the naked, from living models ; by 
 which means he confiderably improved the tafte, as well as the fkiUyof his cotemporaries. 
 As to himfelf, he had a ready manner of painting, with a touch that was free, light, and 
 fpirited; his colouring was ftrong and agreeable; and he particularly excelled in painting 
 horfes, goats, and Sheep. There is a great deal of union and harmony in his compofi- 
 tions j and he was equally eminent in hiftory and portrait ; being correct in his deflgn,. 
 and mewing in every object, how carefully he had ftudied after nature. 
 
 One of his moft capital pictures, is the Hiftory of David and Bathfheba ; and his molt 
 diftinguifhed difciple was John Hendrick Roos. 
 
 Henry GRAAW. 
 
 Painted Hiftory. 
 
 DIED l682, AGED 55. 
 
 He was born at Hoorn, in North Holland, in 1627, and received his firft instruction, 
 from Peter Grebber; but he afterwards became a difciple of Jacques Van Campen, with, 
 whom he continued for eight years ; and gained fo much credit by being reputed the beft 
 difciple in that School, that Prince Maurice of NafTau engaged him to paint Several 
 cielings in the palace near the Hague. 
 
 But he was not content with the knowledge which he had hitherto acquired, and 
 therefore travelled to Rome, where he ftudied for three years,, endeavouring to refine his 
 5 national 
 
GRE 
 
 f 2 74 ] 
 
 GRE 
 
 national tafte, by defigning and copying the works of the great mafters and the antiques. 
 He at length fucceeded fo well, by induftry and an apt genius, that Nicolo Pouflin, 
 looking over fome of the ftudies of Graaw, declared that he never faw a Fleming of 
 whom he had higher expectations, nor any one of more promifing talents. At his return 
 from Italy, he lived alternately at Amfterdam and Utrecht, enriched by his works, and 
 exceedingly admired. 
 
 He had a fine invention, his manner of compofing was grand, and his difpofition 
 fhe wed tafte and judgment. His draperies were large, his colouring good, his defign 
 correct; and he particularly excelled in naked figures, in which his choice was elegant, 
 and the contours graceful. He left not many pictures ; but what he finifhed, will ferve 
 to eftablifh his reputation as an eminent mafter. 
 
 Peter GREBBER. 
 Painted Hijiory and Portrait. 
 
 He was born at Haerlem, about 1590, and was taught the firft principles of the art by 
 his father Francis Peter Grebber ; but he was afterwards a difciple of Henry Goltzius, 
 and became an artift of confiderable efteem in his native city, where many of his perform- 
 ances are to be feen, and are ftill very much admired. 
 
 It is not certain whether this painter had ever been in Italy; but, by his tafte of 
 defign, it appears that he muft have been converfant with excellent models. He had 
 the felicity of being the mafter of feveral very diftinguimed artifts, whofe reputation 
 reflected the higheft honour on their inftructor. 
 
 Maria GREBBER. 
 
 Painted Architecture, Perfpeclive, and Portrait. 
 
 She was the daughter and difciple of Peter Grebber, born at Haerlem. Her genius 
 particularly directed her to the painting of perfpective and architecture j in which 
 branches of her art fhe arrived at an extraordinary degree of excellence. 
 
 GREGHETTO, Vid. Castiglione. 
 
 John GREENHILL. 
 Painted Portrait. 
 DIED 1669, AGED 20. 
 
 He was an Engllm artift, born at Salifbury, in 1649, and became a difciple of Sfc 
 Peter Lelyj whofe ftyle of painting he imitated fuccefsfully, in crayons, as well as in oil. 
 He was accounted very little inferior to his mafter, and probably would have ftood in 
 
 3 w competition 
 
G R I 
 
 C *75 ] 
 
 G R I 
 
 competition with him, if Sir Peter would have allowed him free accefs to his painting 
 room, and permitted him to fee the method of his ufing his colours, and his manner of 
 "penciling. But, by the moft authentic accounts, Lely grew jealous of the abilities of 
 Greenhill, and confidered him as a rival ; and except one time when he flood at his 
 matter's back, while he was painting the portrait of Mrs. Greenhill, he never was 
 admitted to fee him paint. 
 
 He had a very promifing genius, and copied the picture which Vandyck painted of 
 Killigrew with a dog, fo extremely well, that it was miftaken for the original ; and his 
 portraits in crayon were much admired. At firft he was very induftrious; but afterwards 
 he gave himfelf up to an irregular and diflblute courfe of life, and died by an accidental 
 fall, as he returned from the tavern, in the bloom of his years. 
 
 John GRIFF I ER, called the Old. 
 Painted Landfcape, Cattle) and Ruins of Italian Buildings, 
 
 DIED I718, AGED 73. 
 
 \ This painter was born at Amfterdam, in 1645, and was a difciple of Roland Roghman. 
 By his induftry to learn the art of painting, and having the appearance of a ready genius, 
 he gained the affection of his mafter, and alfo of all thofe artifts who were intimate with 
 Roghman ; among whom were, Rembrandt, Ruyfdael, Adrian Vandervelde, and Linglebach, 
 who allowed Griffier the liberty of feeing their works, and added to that kindnefs their 
 advice and inftruction. He made feveral attempts to be admitted into the fchool of 
 Rembrandt; but that mafter ftill objected, that he would not deprive his friend Roghman 
 of any of his pupils. 
 
 He very early obferved, that in landfcape, clearnefs is commendable; and faw that 
 Adrian Vandervelde, and Linglebach, gave a frefhnefs and brightnefs to their pictures 
 that made them appear with more truth, and more like nature ; and therefore he quitted 
 the dark and dufky manner of his mafter, and ftudied the works of thofe two excellent 
 painters fo thoroughly, that he imitated them with great fuccefs, and excited fome degree 
 of envy in Roghman. At laft he grew defirous to fee England ; and having viftted his 
 friend John Loten, who at that time was much efteemed in London for painting landfcapes, 
 Griffier liked the country, the inhabitants, and the encouragements he met with, and 
 from thofe inducements fettled in London, and followed his profeflion with fufficient 
 advantage. 
 
 The fubjecls he generally painted were Italian ruins; views of the Rhine, and the 
 Thames; profpects of London, and the villas in the environs; and thofe he executed with 
 a rich look, and neatnefs in the colouring; enlivening his landfcapes with elegant fmall 
 figures and cattle, with boats, and different kinds of veffels, well defigned, and correctly 
 drawn. He had an uncommon command of his pencil, which enabled him to adapt it to 
 the ftyle of feveral diftinguifhed matters. Sometimes he imitated Rembrandt, and at 
 other times Poelemburg, Ruyfdael, and Teniers, juft as his fancy directed; and in all his 
 
 imitation s 
 
G R I 
 
 C 276 ] 
 
 G R I 
 
 imitations he mewed extraordinary merit and good obfervation : fo that many of his 
 works have been fold for the genuine paintings of thofe mafters in whofe ftyle he defigned 
 them, but particularly thofe which he copied after Teniers, or painted in imitation of 
 his manner. 
 
 He feemed to have, a very unfettled turn of mind, by which he almoft ruined his 
 fortune and his family; for he bought a yacht, in which he failed to Holland, having 
 embarked on board it all his paintings, his fubftance, and his family; but unfortunately 
 he was caft away near the Texel, loft every article of his effe&s, and would have been 
 reduced to beg, if he had not been relieved by the difcretion of his daughter, who prudently 
 fewed up fome guineas in her girdle. And in another voyage he was thrown upon a 
 fand-bank, where he ftuck for eight days, till a very high tide providentially cleared him 
 from that dangerous fituation. 
 
 The works of this Griffier were extremely efteemed in his own country, as well as in 
 England, during his life; and they were fo peculiarly admired by the Duke of Beaufort, 
 that he purchafed as many as he could procure; nor would he permit Griffier to paint for 
 others, as far as it was in his power to prevent him. 
 
 Robert GRIFFIER, called the Young. 
 Painted Landfcapes and Cattle. 
 
 He was the fon of old Griffier, born in England in 1688, and learned the art of painting 
 from his father; to whom he was efteemed not inferior, as well in refpe£t of his tafte 
 and defign, as of his colouring and pencil. 
 
 When his father returned to London, after his fhipwreck on the coaft ttf -Holland, 
 Robert went to fettle at Amfterdam, where he followed his profeffion with very great 
 reputation. His fubje&s were often in the ftyle of thofe which his father was fond of 
 painting ; but he diftinguifhed himfelf extremely, by his views of the Rhine, in which he 
 introduced a number of figures, very delicately touched, in the manner of Herman Sacht- 
 leven. He was alive in 1713. 
 
 GRIMALDI. Vid. Bolognese. 
 
 « Hubert GRIMANI, or Hubert Jacob sz. 
 
 Painted Portrait. 
 
 DIED 1629, AGED 30. 
 
 This painter was born at Delft, in 1599; and having been taught the rudiments of 
 painting in his own country, he travelled to Venice when he was very young, and ftudied 
 there after the beft mafters of that celebrated fchool. His name was originally Hubert 
 Jacobfz ; but having refided for nine years at Venice, and fpent that time in ftudy and 
 practice, he afterwards afforded fo many proofs of fingular merit, that he was taken into 
 
 the 
 
G 11 1 
 
 L 277 ] 
 
 G U I 
 
 the family of the Doge Grimani, and aflumed the name of his patron, which his own 
 pofterity retained 3 eyer after. 
 
 He was excellent in painting portraits, anil made himfelf remarkable in the firft years of 
 his practice; but by having frequent opportunities of painting the portraits of feveral 
 Englifh noblemen, who were impatient of fitting a competent time, to admit of finiftiing 
 their pictures, equal to the artift's inclination or ability, he habituated himfelf gradually 
 to a more expeditious manner of painting; but it was alfo more flight and more negligent. 
 JFor which reafon his latter works are in no degree comparable with thofe of his 
 earlier time. 
 
 Jacques GRIMMER. 
 Painted Land/cape* 
 
 DIED I546, AGED 56. 
 
 He was born at Antwerp, in 1510, and at firft was instructed by Matthew Kock> 
 though he afterwards became the difciple of Chriltian Queburg. His genius was totally 
 inclined to paint landfcapes; and to qualify himfelf moft effectually for that branch of his 
 art, he applied himfelf diligently to ltudy nature, till he was able to imitate it with fuccefs. 
 His diftances and his fkies were admirably coloured, his trees touched with fpirit and 
 freedom, and his buildings were well chofen. He had a ready manner of finifhing, and 
 the whole together had a natural -and pleafing effect. 
 
 GUERCINO da Cento. Vid. Barbieri. 
 
 GUIDO Reni. 
 
 Painted Hijiory and Portrait* 
 
 DIED 1642, AGED 68. 
 
 This memorable artift was born at Bologna, in 1574, and at an early age became the 
 difciple of Denis Calvart, a Fleming of great reputation; but afterwards he entered himfelf 
 in the fchool of the Caracci. He carefully ftudied the ftyle of thofe great malters, but 
 imitated that of Ludovico, preferably to that of Annibal or Agoltino, becaufe there 
 appeared more of grandeur and grace in his compofitions, than in thofe of the others ; and 
 his firft performances were entirely in the manner of that matter. 
 
 However, being as yet undetermined what ftyle to fix on for his future works, he went 
 to Rome, where he examined every thing worthy of his attention, and particularly the 
 works of Raphael, with which he feemed enraptured. He was alfo ftruck with the 
 furprifing effect of the paintings of Caravagio, and for fome time adopted that manner; 
 till he found that it was not generally approved, and required too much labour to fucceed 
 in it. He then fixed on a manner peculiar to himfelf, which was eafy, graceful, great, 
 
 O o and 
 
GUI [ 278 ] G u r 
 
 and elegant j which fecured to him the univerfal applaufe of the whole world, and the 
 idmiration of pofterity; fo that he is ranked among the firft and beft artrfts of any age 
 iince the revival of the art. 
 
 All the excellencies of painting feem united in this fuperior genius; for whether we 
 confider the grand flyle of his composition, the delicacy of his ideas, the diipofition of his 
 objects in general, or the beautiful turn of his female forms, his colouring, or bis graceful- 
 airs of the heads, all are admirable, and fill the mind with a kind of ecftafy. All fubjecls, 
 indeed, were not equally adapted to the genius of Guido. The tender, the pathetic, the 
 devout, in which he could manifeft the fweetnefs, and the .delicacy of his thoughts, were 
 thofe in which he peculiarly excelled, thofe which diftinguifh him from every other 
 painter, and almoft give him precedence to all- 
 in exprefling the different parts of the body, he had a remarkable particularity; for he 
 ufually defigned the eyes of his figures large, the noftrils fomewhat clofe, the mouth fmall, 
 the toes rather too clofely joined, and without any great variety, though that was not 
 occafioned by any want of fkill, but out of choice, and to avoid affectation. The heads 
 of his figures are accounted not inferior to Raphael, either for correctnefs of defign, or an 
 engaging propriety of expreflion; and De Piles very juftly obferves, that the merit of 
 Guido confifted in that moving and perfuafive beauty, which did not fo much proceed 
 from a regularity of features, as from a lovely air which he gave to the mouth, with a 
 peculiar modefty which he had the art to place in the eye.. 
 
 His draperies are always difpofed with large folds, in the grand flyle; and with fingular 
 judgment contrived to fill up the void fpaces; free from ftiffnefs or affectation ; noble and 
 elegant. Though he did hot underffand the principles of the chiaro-fcuro, yet he fome- 
 times practifed it, through a felicity of genius. His pencil was light,, and his touch free, 
 but very delicate ; and although he took pains to labour his pictures highly, yet, it is faid, 
 he generally gave fome free and bold ftrokes to his work, in order to conceal the toil and 
 time he had beftowed upon it. His colouring is often aftonifningly clear and pure; but 
 fometimes alfo his pictures, and more efpecially thofe of his latter time, have a greyifh caff, 
 •which changed into a livid colour, and his fhadows partook of the green. But his works 
 have ever been defervedly admired through all Europe, and to this day increafe in their value 
 and efteem. 
 
 Many of his latter performances are not to be placed in competition with thofe which" 
 he painted before he unhappily fell into diftreffed circumftances, by an infatiable appetite 
 to gaming ; for his neceflities compelled him to work for immediate fubfiftence, which 
 gave him the habit of painting in a more flight and negligent manner, without any 
 attention to his honour or his fame. 
 
 In the church of St. Philip Neri, at Fano,^ there is a grand altar-piece by Guido* 
 reprefenting Chrift delivering the Keys of St. Peter. The head of our Saviour is 
 exceedingly fine, that of St. John admirable; and the other Apoftles are in a grand ftyle, 
 full of elegance, with a ftrong expreflion; and it is well preferved. In the archiepifcopal 
 
 gallery 
 
G U 1 
 
 [ 279 3 
 
 G Y Z 
 
 gallery at Milan, is a St. John, wonderfully tender in the colouring, and the graces 
 diffufed through the defign excite the admiration of every beholder. At Bologna, in the 
 Palazzo Tanaro, is a moft beautiful picture of the Virgin, the Infant Jefus, and St. John; 
 in which the heads are exquifitely graceful, and the draperies in a grand ftyle. But in 
 the Palazzo Zampieri is preferved one of the moft capital paintings of Guido: the 
 fubject is, the penitence of St. Peter after denying Chrift, with one of the Apoftles 
 feeming to comfort him. The figures are as large as life, and the whole is of an 
 aftonifhing beauty ; the painter having fliewn, in that fingle performance, the art of 
 painting carried to its higheft perfection. The heads are nobly defigned, the colouring 
 clear and precious, and the expreflion inimitably juft and natural. There is alfo in the 
 collection of the Earl of Moira, in Dublin, a fine head by Guido, reprefenting Chrift 
 crowned with Thorns : it has a graceful and affecting expreilion, and fhews, in an 
 amiable ftyle, all the dignity and refignation of the fufferer. 
 
 GUIDO Cagnacci, 
 Painted Hiftory. 
 
 DIED l68o, AGED 80. 
 
 He was born, according to the teftimony of fome writers, at Caftel Durante, in the 
 year 1600, but, according to others, at Bologna ; where he ftudied the art of painting in 
 the fchool of Guido, and for feveral years continued under his direction. He took 
 extraordinary pains to obferve the method of handling and colouring which his mafter 
 practifed; and he ftudied to mix his colours in the fame manner, that, if poflible, he might 
 appear a difciple worthy of his director. But he failed of fuccefs, by endeavouring 
 unfkilfully to add more force than was ufually remarked in the pictures of Guido, 
 However he had great merit in many parts of his profeflion ; and fpent the greateft portion 
 of his life at Vienna, where he met with fufficient encouragement. 
 
 There are feveral paintings by this mafter at Bologna. The fubject of one is, an 
 emblematical reprefentation of human life ; and although the deiign is but poor, yet the 
 heads are in a good tafte, and it is well coloured. Another is in the Palazzo Zambeccari, 
 reprefenting a Man itabbing a Woman ; the figures are as large as life, the colouring is 
 frefli, and the whole together extremely good. 
 
 GULIELMO. VidV William Van Aelst. 
 
 Peter G Y Z E N. 
 
 Painted Landfcape, 
 
 He was born at Antwerp, about 1636, and became a difciple of John Brueghel, whofe 
 manner he induftrioufly imitated. His fubjects were views of villages, on the banks of 
 
 O o 2 rivers, 
 
 1 
 
H A A 
 
 [ a8o J 
 
 H A A 
 
 rivers, efpecially views of the Rhine, in the ftyle of Sachtleven ; and he adorned his- 
 landfcapes with figures, well defigned, and neatly penciled. In his larger pictures he 
 was not fo happy as in thofe of a fmall fize, like his matter; which occafioned the latter 
 to be abundantly more efteemed, as tbey were touched with fpirit, and without his general 
 drynefs. If this painter could but have found out the art of uniting his colours, he 
 might have equalled his matter ; but the reds, greens, and yellow, predominated his 
 pictures too. much, and deftroy the effect and the harmony. 
 
 m 
 
 John Va^n HAANSBERGEN. 
 Painted Landfcafe^ Hi/lory y and Portrait*. 
 DIED I7O5, AGED 63. 
 
 HfJ E was born at Utrecht, in 1642, and was a difciple of Cornelius Poelemburg, with- 
 whom he at once had the advantage of an excellent inftructor, and as excellent an example* 
 When he quitted that fchool, in order to follow his profeflion, he was for lbme time 
 undetermined what ftyle to fix on, or what manner of painting might be attended with 
 the greateft probability of fuccefs ; but obferving that the prodigious demand for the 
 works of Poelemburg excited a number of artitts to imitate and copy him, he fixed on 
 that method to, acquire reputation and fortune. 
 
 He proved one of the beft copyers of his mafter; (hewed the fame tafte of landfcape, 
 figures, back-grounds,, and ornaments; and imitated his manner, fo happily in his own 
 eompofitions, that his work was frequently taken, by good judges, to, be the work of 
 Poelemburg. However, his productions were not held, in the fame efteem; for, although 
 there appeared a.ftrong re.femblance in their eompofitions, yet he was accounted inferior 
 to his mafter in correctnefs of drawing, in the delicacy of his figures, and in the neatnefs 
 of his touch. And, for that reafon, he was advifed by his friends to undertake portrait- 
 painting, for which he feemed to be extremely well qualified; efpecially for female forms, 
 as the tint of kis colouring was exceedingly, well adapted to delicate complexions ; and 
 therefore he applied himfelf entirely to that branch, and his fuccefs was anfwerable to the 
 moft languine expectations. 
 
 The fubjects of his firft time were the fame as thofe of Poelemburg, naked figures of 
 Nymphs or Deities, with which he enriched the fcenes of his landfcapes : his defigns 
 were taken from true as well as fabulous hiftories, and he always finiftied them with 
 neatnefs and care* 
 
 John 
 
HAC 
 
 C J 
 
 H A E 
 
 John HACKAERT, or Ea*ker*. 
 
 Painted Landfcape. 
 
 This matter was born at Amfterdam, about the year 1635, and, through the Nether- 
 lands, was highly admired, for the delicate manner of handling obfervable in his landfcapes. 
 The fcenes he chofe for his fubjects, were broken grounds, with caverns, grottos, and 
 mountainous views, which he defigned after nature ; and to furnifh himfelf with fuch 
 objects as had an agreeable wildnefs, he travelled through the molt romantic fcenes of 
 Germany and Switzerland, and fketched every thing that pleafed his particnar tafte, or 
 that could be introduced into his future competitions. And by that means his pictures 
 recommended themfelves to all the lovers of painting, by affording a fpectator a view of 
 what is grand, uncommon, and pleating, and at the fame time, what cannot but be deemed, 
 a true and exact reprefentatati on of nature. 
 
 As he fpent a great deal of time in roaming about the mountains and vales of Switzer- 
 land, it happened that fome of the peafants and miners obfetved him fketching his defigns ; 
 and being furprifed at the novelty of thofe characters which were ftruck out by his 
 pencil, they concluded him to be a magician, and therefore feized, fecured, and dragged 
 him with violence before a magiftrate. But the Judge knowing Hackaert and his pro- 
 feffiorij, and finding upon enquiry the caufe of his being fo ignominioufly treated,' he 
 protected him from any farther infult, and fhewed him every, mark of refpect and. 
 friendfhip. . 
 
 Hackaert was not very expert at detigning figures ; and therefore, at his return to, 
 Holland, he affociated with . Adrian Vandervelde, who generally painted the figures for. 
 him; and by that means the pictures of this m after acquired a confiderable additional 
 value. 
 
 CoRNEiauSu Van HAERLEM. Vid. Cornelius- Cornelisz* 
 
 Theodore Van HAERLEM. 
 
 Painted Hi/lory.- 
 DJED I47O, AGED 6o» 
 
 He was born at Haerlem, about the year 1410 j and by ftudying nature diligently, he 
 rendered himfelf a painter of diftinciion. And that he had a large portion of merit, for 
 the age in which he Hourifhed, there is a very competent proof in a picture of his painting 
 at Utrecht. It is lefs hard and dry than mod of the works of his cotemporary artifts, 
 and very highly laboured in the finifhing. The picture is an altar-piece, with two folding 
 doors,, as was cuftomary at that time; on the infide appears the reprefentation of Chrift, 
 and on the doors the figures of St. Peter and St. Paul, as large as life. On the picture 
 there is the following infcription, written in golden letters ; Tbeodorus Haerlemenf. fecit 
 me, Lovaniif anno 1462. 
 
 z John 
 
HAG 
 
 C *«* ] 
 
 HAL 
 
 John Van HAGEN. 
 
 Painted Land/capes. 
 
 This painter was of the county of Cleve; and moft of his works confift of views and 
 fcenes, which he (ketched after nature, in the neighbourhood of Cleve and Nimeguen. 
 His, manner was pleafing, and his colouring natural ; but there is one circumftance which 
 leffens the value of the works of this matter exceedingly, and that is the fading of the 
 blues and greens of his pictures, by fome defect in the colours, and too freely ufing 
 fphaltum; for by that means they are turned black, and are now very remote from their 
 original tint. The defigns which he made after nature are very highly efteemed, and 
 moft of them are marked between the years 1650 and 1662; as alfo are fome of his beft 
 ..paintings ; of which a few were expofed to fale in the year 1715, at the Hague, ami 
 bought by a perfon well fkilled in painting, who gave for them a very large furru 
 
 P R AN C IS HALS. 
 
 Painted Portraits. 
 
 DIED l666, AGED 82. 
 
 He was born at Mechlin, in 1584, and (according to the Chronological Tables) was 
 a difciple of Charles Van Mander. He had a lively and prompt genius, and applied himfelf 
 ^diligently to the ftudy of nature, as well as to explore the true principles of his art, in refpect 
 of colouring and penciling ; till he fo effectually confirmed his hand and his judgment, that 
 he became an admirable painter of portraits. No artift of his time was fuperior to him, 
 except Vandyck, in that branch of his profeflion; and but very few painters could be 
 admitted into competition with him. 
 
 He painted in a beautiful manner, and gave his portraits a ftrong refemblance, a lively 
 expreffion, and a true character. His colouring was extremely good and natural; and he 
 mixed his tints in a peculiar manner, fo as to give a furprifing force to his pictures, by 
 the freedom and boldnefs of his pencil ; it being profefTedly his opinion, that a mafter 
 .ought to conceal, as much as poflible, the labour and the exactnefs requifite in portrait- 
 painting. 
 
 Vandyck had conceived fo high an opinion of the merit of Hals, by having examined 
 feveral of his performances, that he went to Haerlem, where that artift lived, with ho 
 other intention than to pay him a viftt j and introduced himfelf as a gentleman on his 
 travels, who wifhed to have his portrait painted, and yet had but two hours to fpare for 
 that purpofe. Hals, who was hurried away from the tavern, took thefirft canvas that lay 
 in his reach, and fat down to the work in a very expeditious manner. In a fliort time he 
 had proceeded fo far, that he delired Vandyck to look at what he had done ; and that artift 
 not only feemed to be much pleafed, but told Hals that fuch work feemed to him fo very 
 .cafy, he was perfuaded he could do it himfelf. 
 
 Immediately 
 
HAL [ 283 ] HAN 
 
 Immediately he took the palette and pencils, made Franck Hals fit down, and fpent a 
 quarter of an hour in painting his portrait; but, the moment Hals caft his eyes on it, he 
 cried out in aftoniftiment, that no hand except that of Vandyclc could work fo wonder- 
 fully, and fce embraced him with a degree of tranfport not to be defcribed. 
 
 Vandyck endeavoured to prevail on him to go as his aflbciate to England, and engaged 
 to enrich him ; but Hals declined that honourable propofal, and told him, that his happi- 
 nefs confifted folely in the enjoyment of his friends and his bottle, and while he poffeffed 
 thofe, he was fully content with his condition and his country. Thofe celebrated artifts 
 quitted each other with mutual regret; and Vandyck ufed to fay, that Hals would have 
 been the beft in his profeffion, if he had given more tendernefs to his colours; for, as to. 
 his pencil, he knew not one who was fo perfectly rriafter of it. 
 
 Dirk HALS. 
 
 Painted Conversations and Animals- 
 
 DIED 1656, AGED 6.7. 
 
 He was the brother of Franck Hals, born at Mechlin, in 1589, and was a difciple of 
 Abraham Bloemart, under whofe direction he principally pradtifed the painting of 
 animals; but when he quitted that mafter,. he chofe for his general fubjecls, drolls, 
 converfations, feafts, or merry-makings, which he defigned with a great deal of low 
 humour and fpirit; but he was in no degree comparable with his brother,, either in* 
 correctnefs, colouring, or excellence of handling.. 
 
 John HANNEMAN.. 
 Painted Portrait and Hijlory, 
 
 DIED l68o, AGED 69. 
 
 He was born at the Hague, in 1611, and, according to the teftimony of Tome writers,; 
 was a difciple of Vandyck; but with much more probability, according to others, he was 
 a difciple of Hubert Raveftein, However he formed his tafte, and his manner of pen- 
 ciling, by ftudying and copying the works of Vandyck, obferving particularly the airs 
 of the heads, which he very happily imitated; and in the tints of his carnations he had 
 fomewhat fo extremely foft and delicate, as to give them an appearance little inferior to 
 thofe of Vandyck. Several of Hanneman's copies after that illuftrious painter's works 
 fhewed fuch exactnefs, and at the fame time fuch a freedom of hand, that, they are 
 frequently miftaken for originals.. 
 
 Although he was ufually employed in portrait-painting, yet he fometimes defigned 
 hiftorical and allegorical fubjec~ts. Of the latter kind there is a large picture in the hall - 
 of the States of Holland, reprefenting Peace, under the figure of a beautiful woman 
 feated on a throne, holding a dove on her knees, and crowned with wreaths of laurel by 
 two genii. The corcpofition is rich, and it is painted with a great deal of force; the 
 
 5 carnations 
 
rH A & 
 
 [ 284 3 
 
 HE C 
 
 carnations approaching very near to the tints of Vandyck. He continued in England 
 for fixteen years, and, at his return to the Hague, became the favourite painter of the 
 Princefs Mary of Orange. 
 
 Peter HARDIME. 
 
 Painted Fruit and Flowers. 
 
 DIED I748, AGED 70* 
 
 He was born at Antwerp, in 1678, and inftrucled in the art of painting by his brother 
 Simon Hardime, a flower-painter, who died at London in 1737. Peter imitated the 
 manner of his brother j but he had fuperior talents, and excelled -him to a very great 
 degree; though he withdrew himfelf from his direction when he was only nineteen years 
 old, and at that age fet up in his profeffion. He fixed on the Hague for his place of 
 refidence, and found fufficient employment among the principal perfons in that city, which 
 increafed his reputation daily To far, that his works were diftributed through all the Low 
 Countries. In the monaftery of the Bernardines, near Antwerp, in the year 171 8, he 
 painted four large defigns, reprefenting the four feafons, in which he introduced all the 
 fruits and flowers peculiar to each. That is accounted the moft capital of his perform- 
 ances ; the objects are well grouped, the fruits and flowers are fine imitations of nature, 
 freely handled, with an agreeable tone of colouring, and are well finiftied. 
 
 Terweften employed him to paint the flowers and fruits in his compofitions, which 
 before had been undertaken by Verbruggen ; but at laft the tafte for thofe kind of fubjecls 
 and ftill life declining through all Europe, and his bufinefs not being as conftant as it had 
 -been formerly, he fell into a fixed melancholy, imagining himfelf and his works to be 
 jdifefteemed, and he died through difcontent and defpondency. 
 
 HARTCAMP. Vid. Lodowick Smits, 
 
 John Van HECK. 
 Painted Land/capes^ Animals^ Fruity Flowers, and Still Life. 
 
 He was born at the village of Quaremonde, near Oudenarde, about the year 1625, and 
 went early to Rome, where he induftrioully purfued his ftudies, and refided for feveral 
 years. He produced fo many public proofs of his merit, in many parts of the art of 
 painting, that the Duke of Bracciano became his patron, and engaged him for a confiderable 
 time in his fervice. But his reputation increafed the demand for his works, and moft of 
 the Cardinals and Princes at Rome were folicitous to procure fome of his paintings. 
 
 He painted flowers and fruit in a good ftyle, and finifhed them with neatnefs ; but his 
 genius enabled him alfo to paint landfcapes, which he defigned after the beautiful fcenes 
 in the neighbourhood of Rome ; and he enlivened them by fmall figures,' very correctly and 
 delicately defigned. He likewife painted vafes of fiiver, agate, porphyry, marble, ox 
 
 bronze, 
 
H E C 
 
 C 2*5 3 
 
 H E E 
 
 ■"tironze, in imitation of the antique; and other objects of flill life, in which he fhewed an 
 agreeable choice, and good compofition. Though the Italians were fond of the works of 
 Van Heck, and readily purchafed them, yet he fpent the latter part of his life at Antwerp,, 
 where he lived in the higheft eft^em. 
 
 Nicholas Vander HECK. 
 
 Painted Landscape and Hijlory. 
 
 This painter was born in Holland, about the year 1580, and learned the art of painting 
 from. John Naeghel, at the Hague. He diftinguifhed himfelf as a good compofer of 
 hiftorical fubjects, but his greateft excellence was feen in his landfcapes. His manner of 
 penciling was ftrong and firm, his colouring natural and lively j and his knowledge of the 
 chiaro-fcuro enabled him to give his pictures a bold and ftriking effect. 
 
 Three hiftorical compofitions of this mafter are preferved in the Town-Houfe at 
 Alkmaer. In the firft is reprefented the beheading of the Bailiff of South Holland, by 
 order of Count William the Good, for an act of opprefiion exerted againft a poor peafant 5 
 the fubject of the fecond is the puniftiment of an unjuft Judge, who was flayed alive by 
 order of Cambyfes; and the third is the Judgment of Solomon. Each of thofe paintings 
 fliew a good invention and defign, and they are all extremely well executed. 
 
 Martin Hemskerk Vander HECK. 
 Painted Buildings and Landfcape, 
 
 He was the nephew of Martin Hemfkirk, and the fon of Nicholas Vander Heck, under 
 ■whom he was taught the principles of drawing and defign, and the art of colouring; but, 
 although he had the advantage of fo able an inftructor, he had neither the genius nor the 
 execution of that eminent artift, and in landfcape appeared to be very much his inferior. 
 
 Moft frequently he chofe for his fubjects, old caftles, and other antiquated buildings, in 
 the ftyle of Roland Roghman ; and he was obferved to be particularly fond of painting the 
 caftle of Egmont, in its different views. 
 
 William, and Vigor, Van HEEDE- 
 
 Painted Hijlory, 
 
 Vigor died 1708, aged 49. — William died 1728, aged 68. 
 
 Thefe painters were brothers, fuppofed to be born at Fumes, in the years 1659 an( * 
 1660; but by their having lived for a long time in Italy, where they perfected themfelves 
 in the knowledge of their profemon, they have left very few of their beft works in their own 
 country. Vigor returned toFurnes before his brother; but William continued longer at 
 Rome, where his clofe application improved him to fuch a degree, as to occafion an 
 
 P p extraordinary 
 
HEE 
 
 [ 286 ] 
 
 HEE 
 
 extraordinary high price to be given for his pictures. His merit obtained him the 
 univerfal approbation of the beft judges, and procured to him the honour of being ranked 
 by them among the ableft mafters of his time. And whoever will deliberately view and 
 confider the works of this artift, which are at Rome, yenice, and Naples, will find an 
 evident proof, that the high commendations they received were juftly due to their merit. 
 
 On account of his eftabliihed reputation, he was invited by the Emperor to Vienna $ 
 and was engaged to work for other Princes of Germany, who exprefled a ftrong deiire to 
 detain him at their different Courts. In the church of St. Walburg, at Furnes, there is a 
 capital picture of this mafter, reprefenting the Martyrdom of a Saint. It is defigned in 
 the manner of Lairefle, full of fpirit and genius in the compofition, with a tone of colouring 
 that is very natural ; and through the whole, the chiaro-fcuro is judicioufly obferved. 
 The works of thefe brothers are very rarely to be met with, even at Furnes, where they 
 both lived for a great many years ; from whence it is concluded, that they were purchafed 
 by ftrangers, who knew how to prize their merit better than their own countrymen. 
 
 John David de HEEM. 
 
 Painted Fruit, Flowers, and Still Life. 
 
 DIED 1674, AGED 74. 
 
 He was born at Utrecht, in 1600, and was taught the art of painting by his father David 
 de Heem, a good painter of fruit and flowers ; who guided the tafte of his fon to the fame 
 fubjects, and had the fatisfadtion to fee himfelf abundantly furpaffed by him. 
 
 The fubjects in which he excelled, were fruit, flowers, vafes of gold and filver richly 
 embofled, mufical inftruments, Turkey carpets, and fuch like objects of ftiil life. He ftudied 
 nature minutely, and might juftly be faid rather to have embelliftied, than to have imitated 
 nature ; every thing that he painted being not only truly, but elegantly exact:. A peculiar 
 tranfparence of colouring diftinguiihes his pictures from thofe of moft others, but 
 particularly when he reprefents tranfparent bodies, fuch as cryftal, glafs, or gems j nor 
 can a judicious eye confider the union, the harmony, or the frefhnefs of his tints, without 
 admiration. 
 
 Although fubjects of the ftill life kind are not in fo great requeft as they formerly have 
 been, yet the genuine works of De Heem are fo generally admired, that they are bought 
 up at confiderable prices, and are thought to deferve a place among the works of the 
 greateft mafters, even at this day. During his life, his paintings were fold for incredible 
 fums, which rendered them fcarce purchafeable by any who had not immenfe fortunes; and 
 by that means he was enabled to live in a degree of affluence proportionable to the 
 excellence of his talents and his merit. 
 
 The true pictures of this mafter may be determined without much difliculty; for they 
 are executed with aftonifhing neatnefs; with a free, broad, and a light touch; they are 
 
 exquiiitely 
 
H E E f 287 ] H E E 
 
 cxquifitely finiihed, judicioufly grouped, and admirably coloured; and thofe infects which 
 are often interfperfed among his fruits and flowers, afford an agreeable deception to the 
 eye, and appear to be real. It was remarked of him, that his laft pictures were rather 
 more excellently finiftied than thofe of his early time; and perhaps no eminent painter 
 hath been more injurioufly treated than John de Heem, by having works afcribed to him, 
 which are abfolutely unworthy of him. His father David, and his fon Cornelius, both 
 painted the fame fubjects, but they were inferior to him in an extraordinary degree; yet 
 their works are frequently paffed on injudicious purchafers, as genuine pictures of that 
 great man, though by a true connoiffeur the difference is very eafily perceptible. 
 
 He painted a garland of fruits and flowers for John Vander Meer, exceedingly delicate, 
 for which the poffeffor refufed two thoufand guilders; and he prefented it to King 
 William III. who in return bellowed on Vander Meer an employment of confiderable 
 value, and carried the picture along with him to England. 
 
 Cornelius de HEEM. 
 
 Painted Fruit and Still Life. 
 
 He was born at Utrecnt, about the year 1623, the fon and difciple of John David de 
 Heem; and being very carefully inftructed by his father, he became a good painter; 
 delighted in the fame fubjects, compofed, coloured, and penciled in the fame ftyle and 
 manner, but never arrived at the excellence of his father, although he had in many refpects 
 abundance of merit. His principal power confifted in painting vafes, carpets, and fuch 
 objects of ftill life; which, from a limilarity of colouring, difpofition, and touch, are 
 frequently taken for the work of David. 
 
 Lucas de HEERE. 
 Painted Portrait and Hi/lory, 
 
 DIED I584, AGED 50. 
 
 He was born at Ghent, in 1534, the fon of John de Heere, the beft ftatuary of his time; 
 and Anne Smyters, who had the reputation of being a moft furprifing paintrefs of land- 
 fcapes in miniature. Van Mander gives almoft an incredible account of one performance 
 of that female artift. 
 
 That writer fays, fhe painted a landfcape, reprefenting a windmill with the fails bent; 
 the miller appeared as if mounting the ftairs, loaded with a fack; upon the terrace where 
 the mill was fixed, was feen a cart and horfe, and on the road feveral peafants. The 
 whole was highly finiflied, and penciled with wonderful delicacy and neatnefs, and was 
 alfo accurately diftinct; yet the painting was fo amazingly minute, that the furface of it 
 might be covered with one grain of corn. 
 
 From fuch parents, De Heere had a fair profpect of gaining every neceffary part of 
 inftruction ; and having, under their direction, learned to defign and handle the pencil 
 
 P p 2 with 
 
HEI 
 
 [ 28S ] 
 
 H E I 
 
 with eafe and freedom, he was placed as a difciple with Francis Floris. With that mafic* 
 he improved fo expedltioufly, as to become in fome refpects his equal, but in compoiition 
 and invention his fuperior. 
 
 On his quitting the fchool of Floris, he travelled to France, where he was employed 
 for fome years by the Queen Mother, in drawing defigns for tapeftry; and while he 
 continued at Fontainbleau, he ftudied after the antique ftatues preferved in that palace, 
 though he never made fo happy a ufe of that ftudy in his fubfequent compofitions, as 
 might have been expected from his genius and talents. At his return to his native city,, 
 he painted a great number of portraits with applaufe ; and he was remarkable for having 
 fo retentive a memory, that if he faw any perfon but once, he could paint his likenefs as 
 ftrong as if he had his model before his eyes. 
 
 On the mutters of the altar-piece in the church of St. Peter, at Ghent, he painted the 
 Defcent of the Holy Ghoft on the Apoftles, in which the draperies are extremely admired;, 
 and, in the church of St. John, he painted an altar-piece reprefenting the Refurredtion. 
 
 His manner was (tifF, refembling that of his mafter ; but in the colouring of the heads 
 of his portraits, there appears a great deal of nature and clearnefs ; and he is very 
 commendable for his high finifliing, as well as for giving a fullnefs to his draperies. This 
 artift refided for feveral years in England, where many of his portraits of the Nobility, 
 are ftill preferved, and they are very much efteemed. 
 
 Daniel Van H E I L. 
 
 Painted Landfcape, Fro/}, and Houfes on Fire, 
 
 He was born at Bruffels, in 1604, and ftudied after nature. As a painter of landfcapes 
 he had a great reputation; but he difcontinued that manner, being more pleafed with 
 fubjects which excited pity and terror, fuch as conflagrations of cities, villages, or 
 palaces ; and thofe he reprefented with abundance of truth, and often with a terrible 
 exactnefs. 
 
 The pictures of this mafter are very frequent, and fome of them are extremely well 
 coloured, and freely and firmly penciled. Among his capital performances are mentioned,, 
 the Deftruction of Troy, the Burning of Sodom, and an excellent winter-piece, which is 
 in the collection of Prince Charles of Lorraine. He had a light touch, a natural tone 
 of colouring, and a very great variety in the fcences of his landfcapes. 
 
 John Baptist Van HEIL. 
 
 Painted Hiftory and Portrait. 
 
 He was born at Bruffels, in 1609, being the brother of Daniel and Leonard van 
 Heil, and principally devoted himfelf to paint facred and poetical fubjects from hiftory, 
 which were much efteemed ; though fometimes he painted portraits. His invention was 
 fertile and lively; he had a good manner of penciling; and was accounted much fuperior 
 10 either of his brothers* According to De Bie,all thofe three artlfts were alive in 1661. 
 
 Leonard 
 
H E I 
 
 C 289 ] 
 
 H E L 
 
 J, v r> n a r n V a m H F. I L. 
 Painted Flowers and Infeffs. 
 
 He alfo was born at Bruffels, in 1603 ; and thofe objects which he chofe to paint, 
 were imitated from nature, and defcribed with the utmoft exactnefs. He generally painted 
 in afmall fize, but in an exquifite manner, and with a neat and delicate pencil. 
 
 Theodore HELMBREKER. 
 
 Painted Hi/lory and Converfations. 
 
 DIED 1694, AGED 70. 
 
 This painter was born at Haerlerh, in 1624, and was a difciple of Peter Grebber ; but, 
 after the death of that matter, he applied himfelf to the ftudy of nature, and likewife to 
 a careful obfervation of the works of the moft famous artifts. Having at laft obtained as 
 much improvement as he poflibly could in his own country, he went to Venice, Rome, 
 Naples, and Florence, and fpent feveral years in Italy, where his works procured him 
 univerfal admiration. After fome years ofabfence, he returned to Haerlem; yet he 
 could not be induced, by the moft importunate folicitations of his friends, to continue 
 there for any length of time ; but went again to Rome, where he fpent the principal part 
 of the remainder of his life. 
 
 He had an excellent manner of painting; his invention was lively, his compofition 
 good ; his figures were defigned with tafte and elegance ; they had a fine expreffion, and 
 good relief; his fubjecls were difpofed with fingular judgment ; and his colouring was 
 agreeable. His landfcapes have abundance of truth, variety, and nature, producing a 
 very ftriking effect ; and whatever animals or figures he introduced, are finifhed with a 
 delicate and free pencil, and a fkilful management of the chiaro-fcuro : fo that the 
 harmony, the variety, and the fpirit of his compofitions, afford the eye a fingular degree 
 of pleafure. 
 
 His extenfive genius qualified him not only to compofe hiftorical facred fubjedts, 
 which he always painted with great fuccefs ; but he had alfo a particular talent for 
 painting converfations, fairs, beggars receiving alms, and the marching of troops; by 
 which compofitions he procured the approbation of the beft judges. He" fometimes 
 painted in the ftyle of Bamboccio, and was accounted not inferior to him ; but the tints 
 of his colouring were rather more clear, efpecially thofe of his latter time. 
 
 As he made Rome his refidence for fo many years, the Italians pofTefs moft of this 
 mafter's performances; and value them fo highly, as to retain them in their own country. 
 For which reafon, his works are very rarely to be met within any other part of Europe. 
 He frequently painted in large; but his moft applauded pictures are thofe of the fmaller 
 fize. 
 
 At Rome, in the Jefuits church, is a noble landfcaps, in which is introduced the 
 Temptation of Chrift in the Defert. At Naples, in the refectory of the Jefuits college, 
 5 are 
 
H E L 
 
 [ 290 ] 
 
 H E L 
 
 are three facred fubjects, admirably executed ; CM rift in the Oarrlen, Chrift carrying his 
 Crofs, and Chrift crucified ; and at Amfterdam, in the poffefiion of Mr. Klock, is an 
 incomparable picture, reprefenting a convent, of which the architecture is entirely in the 
 Italian tafte, excellently defigned, and highly finifhed; and before the building appear 
 a great affemblage of men, women, and children, who are ferved with victuals by 
 pilgrims. The whole is admirably handled, with good exprelTion, with a free and neat 
 pencil, and very agreeable colouring. 
 
 Matthew Van HELMONT. 
 
 Painted Markets and Fairs. 
 
 He was born at Bruffels ; but he principally refided at Antwerp* It is not mentioned 
 under what mafter he learned the art of painting ; yet it is fuppofed that he travelled 
 through Italy, by the tafte obfervable in all his compofitions. His ufual fubje&s were 
 markets, fairs, {hops with fruits and vegetables, or elaboratories of chymifts, in the 
 Italian ftyle ; and his works were much prized by Lewis XIV. who enriched France 
 with the paintings of many foreign artifts, among which the works of this mafter held a 
 considerable rank. 
 
 Segres Jacqjjes Van HELMONT. 
 Painted Hijiory. 
 
 DIED I726, AGED 43. 
 
 He was the fon of Matthew van Helmont, born at Antv/erp, in 1683, and from his 
 birth was of a weak and tender conftitution, which continued during his whole life. His 
 father, who was a painter in great reputation, took unufual care to inftruct him; and he 
 had the fatisfadtion to fee him poffeffed of great abilities, at an age when others only 
 begin to learn. He had the misfortune to be deprived of his father, whilft he himfelf 
 was very young; but, by that portion of knowledge which he had already acquired, 
 and by the ftrength of his own genius, he was enabled to ftudy nature, and alfo to improve 
 himfelf by defigning after noble models. The city of Bruffels afforded him Sufficient 
 opportunities to exert his talents, and eftablifh his reputation; for he was perpetually 
 employed, and painted almoft without intermiffion. But, by too clofe an application for 
 one of fo tender a frame, he Shortened his days, and died when he had only arrived at 
 his forty-third year. 
 
 His compofitions were in the grand ftyle; his colouring is true, his defign correct; 
 and among the Flemifti artifts, he is confidered as a painter of diftindlion. The great 
 altar-piece in the church of the Carmelites at Bruffels, which is accounted a capital 
 performance, was of Van Helmont's compofition ; and the fubjecl: of that painting is 
 Elijah facrificing before the Priefts of Baal. A great number of his works are in the 
 churches, convents, palaces, and public edifices of the Low Countries, of which they 
 are allowed to be the principal ornaments. 
 
 2 Bar- 
 
HEL [ 591 ] HEM 
 
 Bartholomew Vander HELST. 
 
 Painted Portrait and Hi/lory* 
 
 DIED 167O, AGED 57. 
 
 He was born at Haerlem, in 161 3, and proved an excellent colourift and defigner ; fo that, 
 in Holland, he is accounted one of the beft portrait-painters of his time. He fometimes 
 employed his pencil on hiftorical fubjects ; and the landfcapes which he introduced in thofe 
 compofitions are always in a good tafte, and defigned with a great deal of truth and 
 nature. But his chief merit confifted in portraits, which he defigned in an agreeable 
 ftyle, with a light, free touch, and a mellow pencil ; with broad draperies, and beautiful 
 colouring. Many of bis countrymen, out of a national partiality, do not hefitate to 
 compare him even with Vandyck ; but when the works of both are infpected by a judi - 
 cious eye, they cannot certainly be admitted to ftand in any degree of competition. 
 
 Several paintings of this mafter are to be feen at Amfterdam, which are exceedingly 
 admired: one, that is his moft capital performance, is in the Chamber of Juftice in the 
 Town-Houfe of that city; it reprefents the principal officers of the Trained Bands as 
 large as life. Ths carnations, the attitudes, the draperies, are finely defigned and 
 executed; the local colours are good, and the ornaments, with the vafes of gold and 
 filver, are delicately finifhed, and imitated to great perfection. Sir Godfrey Kneller 
 was profufe in his commendation of that picture, and alfo in praifing the abilities of the 
 artift; and the judgment of fo eminent a mafter in the fame ftyle, is a fufficient attefta- 
 tion of the merit of Vander Helft. 
 
 Martin HEMSKERCL 
 
 Painted Hi/lory* 
 
 DIED I574, AGED 76. 
 
 He was born at the village of Hemfkerck, in 1498, and at firft learned defign from 
 John Lucas; but afterwards became a difciple of John Schoreel. His beginnings were 
 unpromifing and heavy ; yet, by the dint of uncommon induftry and affiduity, he over- 
 came every difficulty and difcouragement, and obtained the character of being a very 
 confiderable mafter. 
 
 After he quitted the fchool of Schoreel, he imitated the manner of that painter entirely; 
 and finifhed a picture for the chapel of the artifts at Haerlem, reprefenting St. Luke 
 painting the portrait of the Virgin, which was fo exactly in the ftyle of Schoreel, that 
 it feemed impoffible to determine whether it had not really been executed by that mafter. 
 However, although he had competent employment in his own country, to detain him 
 there, yet he was eagerly defirous to fee Rome ; and having procured letters of recom- 
 mendation, he travelled thither, and met with a very favourable and honourable reception. 
 There he applied himfelf to ftudy the antique, and the works of Michael Angelo 
 Buonaroti, and copied many of the fuperb ruins in the environs of Rome, intending thofe 
 defigns for the ornament of his future compofitions. 
 
 After 
 
H EM [ 292 ] HE M 
 
 After an application of three years, he returned to his native country, and changed his 
 manner of defigning; though, by many able judges, his early manner after Schoreel 
 was preferred to his latter, the mufcular parts not being expreffed fo fharp iu 
 his firft defigns as they were afterwards. His invention was fruitful, which 
 qualified him to paint all kinds of fubjects; and his defign, though dry, was eafy and 
 learned. His compofition was good, and he was fond of introducing pieces of architec- 
 ture in his back-grounds; but he wanted grace in the countenances of his figures, 
 and in the airs of his heads ; the mufcles of the body were abundantly too hard and dry, 
 efpccially in the naked ; his figures are generally too long, his draperies heavy ; and his 
 works fufficiently prove, that he had very little or no knowledge of the chiaro-fcuro. 
 
 Egbert HEMSKERCK, called the Old. 
 Painted Drolls and Converfations. 
 
 It feems very extraordinary, that no circumftance relative to the time in which this 
 great painter flouriftied, or to the fchool in which he was taught, mould be taken notice 
 of by any of the writers on the fubject of painting; although, perhaps, through ali 
 Europe no painter is more univerfally known, and few had more admirers. 
 
 Undoubtedly the tafte of his compofition, compared with that of the Italian artifts, is 
 but low; yet it ought to be confidered, that he took his fubjects from nature; from 
 perfons of the meaneft occupations, employed in the meaneft offices, whofe figure, drefs, 
 actions, or manners, could not furnifh the imaginations with any idea of elegance ; and 
 that he ftudied no farther, than to exprefs the variety of humours obfervable in the 
 characters of that boorifti clafs of people with whom he was moft converfant. 
 
 To ftudy nature in its undifguifed appearances, and to trace every paffion of the 
 human mind, in the lineaments of the face, and in the attitudes of the body, feems to 
 have been the utmoft of his ambition; and for that purpofe, he frequented all places of 
 public refort, inns, taverns, gaming-houfes, fairs, feafts, or merry-makings ; and by that 
 means acquired a furprifing power of exprefling every humorous incident that 
 promoted his own mirth or amulement, or that might contribute to the mirth or amufe- 
 ment of others. 
 
 He defigned and drew correctly, his colouring is extremely natural and tranfparent, 
 and his pictures have a ftrong effect, from his accurate management of the chiaro-fcuro. 
 His touch is free, firm, and full of fpirit, and his expreffion is admirable. Some of 
 his pictures appear rather too dark, particularly in the back-grounds ; though perhaps 
 that defect might have been occafioned by the colours having changed from their original 
 tint, or perhaps from the fevere treatment of unfkilful cleaners or varnifhers. But his 
 genuine works, when entire, and well preferved, have a clearnefs and force equal to any 
 of the Flemifh artifts. The great reputation of Hemfkerck hath, excited fo great a 
 number of painters either to imitate his manner, or to copy his works, that abundance of 
 pictures are fold for his real performances, which are a difhonour to his genius and 
 his pencil. 
 
 The 
 
HEM 
 
 C *93 ] 
 
 HER 
 
 The picture of a fick woman, at prefent in the poffeffion of the author of this book, 
 affords a manifeft proof of the merit and excellence of Hemfkerck. The patient is 
 reprefented as in her bed-chamber, attended by a nurfe-keeper, a boy apparently in great 
 affliction, and a phyfician examining an urinal. The back-ground is clear, the perfpective 
 of the room and its furniture very exact j and the principal figure is unufually bright, to 
 attract the attention of the fpectator. On the right hand is the bed, at the fide of which 
 the woman is placed in an elbow-chair, refting her hands on the arms of it. Sicknefs 
 and pain appear in the limbs, an4 the whole body expreffes feeblenefs and latitude. Her 
 form is defigned in a ftyle fuperior to die Flemifh tafte; it is eafy, elegant, and graceful, 
 and fhe turns her eyes with a melancholy anxiety on the doctor, as if waiting for his 
 opinion, and dreading it. The light is very judicioufly thrown on the principal figuresj 
 and as to the fliape, limbs, and attitude of the woman, they are worthy of any artift of 
 the Roman fchool. 
 
 Egbert HEMSKERCK, called the Young. 
 1 Painted Drolls^ Enchantments^ and Devils. 
 
 DIED I7O4, AGED 59. 
 
 He. was born at Haerlem, in 1645, and was a difciple of Peter Grebberj but he 
 imitated the manner of Brouwer, and alfo of the Elder Hemfkerck. He quitted his owa 
 country to fettle at London, where, for a long time, his compofitions were exceedingly 
 efteemed, though now they are much funk in their value. 
 
 He had abundance of humour, and a very lively and whimfical imagination, which 
 caufed him to delight in compofing the moft wild, fanciful, and uncommon fubjects; fuch 
 as the nocturnal intercourfe of witches, devils, and fpectres, temptations of St. Anthony, 
 and enchantments ; and thofe fubjects he executed with a free pencil, and a fpirited 
 touch. His drawing was tolerably correct, and in fome of his compofitions extremely 
 good; and his colouring was generally commendable, though fometimes it appears 
 difagreeable by its foulnefs. 
 
 It was cuftomary with him to introduce his own portrait among the drolls and conver- 
 fations which he deiigiedj and for that purpofe he had always a fmall looking-glafs 
 placed near his eafeL. 
 
 Henry HERREGOUTS, the Old. 
 Painted Hifiory. 
 
 He was born at Mechlin, about the year 1666, and learned the principles of his art in 
 his native city; but he formed his ftyle of painting from ftudying the works of the beft 
 matters, and improving his knowledge by an accurate ftudy after nature. 
 
 In all his compofitions he fhewed a fertile invention, and a ready genius j his ftyle of 
 painting was grand, his defign full of fpirit, and his colouring agreeable. His figures 
 
 Q^q had 
 
HER 
 
 C *94 3 
 
 HE U 
 
 had exprenion and character, and his draperies were eafy and natural; he painted with 
 great freedom of pencil, and his. touch was broad and firm. His general fubjedts were 
 defigned in a large lize, and in fome of his compofitions the figures were abundantly larger 
 than life. , Frequently he was engaged to infert the figures in the landfcapes of other 
 artifts, and particularly in many of the landfcapes of John AfTelyn. 
 
 Moft of the churches at Antwerp and Bruges are adorned with the paintings of this 
 mafter ; but his moft capital performance is in the parifh church of St. Anne at Bruges 5 
 of which the fubject is the Laft Judgment ; and the compofition, as well as the execution^ 
 afford fuflicient evidence of the merit of this mafter... 
 
 He had a fon, 
 
 »* . H E R R EGOUTS, the Young, 
 
 Who, though a very confiderable artift, was much inferior to his father. However, many, 
 of his paintings are in the churches at Bruges, and are greatly, efteemed } one of which 
 is in the church of the Bare-footed Carmelites, and reprefents the Prefentation of.Chrift 
 in the Temple, 
 
 William de HEUSCH, 
 
 Painted Landfcapes and Animals, 
 
 He was born at Utrecht, in 1638, and learned the firft rudiments of the art in his 
 native city ; but he went early to Rome, and placed himfelf as a difciple with John Both. 
 As he had the advantage of fuch an inftru&or to direct him in his ftudies, he foon made 
 a very great proficiency, and adhered to. the beautiful manner of his mafter; not only in 
 the tints of his colouring, but alfo in the handling, and in the agreeable choice of his 
 fubjedts. 
 
 He defigned entirely after nature, and fketched the yiews of the Rhine, ^and the Tiber, 
 of Frefcati, and Tivoli, from v/hich he compofed his landfcapes j always reprefenting 
 fuch fcenes and fituations as were uncommonly ftriking or beautiful j fo that his pictures 
 were exceedingly admired in Rome, and bought at large prices. He enriched his land- 
 fcapes with excellent figures and animals of different kinds, which were elegantly defigned, 
 and finiftied with neatnefs; and he. general ly chofe for his fubjedts, huntings, harveft- 
 ti.me, or ftiepherds and villagers, employed in different occupations or amufements. 
 
 Jacob de HEUSCH. 
 Painted Lqndfcape and Animals, 
 
 DIED 1701, AGED 44, 
 
 This painter was nephew to William de Heufch, and was born at Utrecht, in 16570 
 He was carefully inftructed by his uncle, and after he had pradlifed for fome years, 
 
 approached 
 
HEU 
 
 C 295 3 
 
 H E Y 
 
 approached fo near to the tafte of defign, the touch, and the colouring of his mafter, that 
 there was fcarce any perceptible difference in their works. 
 
 When he had for fome time painted in that ftyle, he went to Rome by the advice of 
 his uncle ; and there attended the academy, to improve himfelf in drawing and defign, and 
 diftinguifhed himfelf above all the artifts of his time. At his intervals of leifure, he 
 ftudied the works of the great mafters, examining their perfections and defects ; but in his 
 -own judgment preferred Salvator Rofa to them all. He therefore fixed on him for his 
 model, particularly in his fmall figures ; and to imprefs on his mind ftrong ideas of that 
 mafter 's manner of defign, he viewed every fcene around Rome, and its neighbouring 
 villages, which could furnifh him with a fufficient variety. 
 
 At laft he furpaffed his uncle, and his works were bought eagerly by per fonsof the 
 , beft tafte in Rome and Venice ; which enabled him to live in a fplendid condition, while 
 his amiable perfonal qualifications, procured him refpect and efteem. His landfcapes are 
 true reprefentations of beautiful and elegant nature ; the fites are agreeably chofen ; the 
 grounds and trees well coloured, and touched with freedom; and the figures, fheep, oxen,, 
 and other animals, defigned with abundance of truth, correctnefs, and fpirit. 
 
 Abraham de HEUSCH. 
 
 Painted Plants and InfeSis, 
 
 He was born at Utrecht, about the year 1650, and learned the art of painting from 
 ~€hriftian Striep. His favourite fubjects were plants, and herbs of different kinds, infects* 
 ferpents,and poifonous reptiles ; all which he copied from nature, with very fingular neatnefs 
 and truth. It was impoflible to behold fuch exactnefs of imitation, and fuch exquifite 
 finiihing as he beftowed on his pictures, without being aftonifhed at his patience, as well 
 as the flcill he fhewed in the dilpofition of his objects. Not many of the works of this 
 mafter are to be feen, as he fpent a great deal of time in giving them as much, perfection, 
 as he could, and as he quitted painting for acommiffion in the navy. 
 
 John Vanper HEYDEN. 
 Painted Landfcapes Palaces } and Buildings^ ancient and modern* 
 
 PIED I712, AGED 75. 
 
 This extraordinary artift was born -at Gorcum, in 1637, and derived his early know- 
 ledge of painting from a painter on glafs, of no great note ; but his genius enabled him 
 to improve by ftudying after nature; and his tafte directed him to the choice of fuch fubjects 
 as are very rarely feen in fo great perfection, as they have been reprefented by his pencil* 
 He painted churches, temples, palaces, views of cities, and country-houfes ; which he 
 defigned with all imaginable precifion after nature, and added new beauties to them, by 
 the landfcapes, the trees, and lovely diftances, which he introduced with great propriety 
 and judgment. 
 
 Q,q 2 His 
 
H TL 
 
 H I L 
 
 His pictures are finifhed with inexpreflible neatnefs, and amazing patience; and he ha<i> 
 one particularity, which can fcarcely be found in any other mafter, which was, that he 
 painted his buildings fo minutely exact, as to admit of counting even the ftones or bricks 
 employed in their eonftruction. Yet- the objects in his pictures form admirable manes cf 
 light and fhadow; the chiaro-fcuro is well underftood;. the perfpective excellent; and the 
 union and harmony are not injured, by the furprifing care and delicacy of the handling. 
 
 Several mafters have finifhed their works as highly as Vander Heyden ; but few of 
 them have pofiefled the art of uniting mellownefs with high finifhing. Nothing appears 
 laboured or fervile ; nothing hard, ftiff, or dry; but the more minutely and critically we 
 examine his paintings, , we cannot avoid being the. more aftonifhed to obferve the tafte 
 and conduct vifible through the whole. 
 
 Among other considerable buildings, he painted the view of the Royal Exchange and 
 Monument at London, of the Town-houfe at Amfterdam; the views of Rome, Cologne, 
 and Delft, and many churches and palaces, which are filled with a multitude of figures, 
 all bufy and in motion, and very judicioufly difpofed: and all thofe figures being painted 
 by Adrian Yandervelde (till 1672, in which year Adrian died), they add ftiU a greater 
 degree of value to the pictures of this mafter. 
 
 It is recorded of Vander Heyden, that, his penciling, was fo wonderfully nice, as to 
 enable him to paint the picture of a Bible lying open, only of the fize of a man's palm, 
 in which the writing was exceedingly fmali, and yet fo clear in the character, that every 
 letter was diftinctly legible.. 
 
 Nicholas HILLIARD. 
 Painted Portraits in Miniature. 
 
 DIED 1619, AGED 72. 
 
 He was the fon of Nicholas Hilliard of Exeter, born in that city in 1547; and for 
 want of a proper inftructor, he ftudied the works of Hans. Holbein, which to. him feemed 
 preferable to all others. But although he copied the neatnefs of his model, he was 
 incapable of acquiring the force and nature which that great mafter impreffed on all his^ 
 fmailer performances. He could never arrive at any ftrength of colouring ; .his carnations 
 were always pale, and void of any variety of tints; yet his penciling was exceedingly- 
 neat, the jewels and ornaments of his portraits were expreffed with lines incredibly 
 llender, and even the hairs of the head and of the beard were almoft diftinctly to be 
 counted. He was exact in defcribing the drefs of the times, but he rarely attempted 
 more than a head ; and. yet his works were much admired and highly prized. He painted 
 the portrait of the Queen of Scots, which gained him univerfal applaufe ; and. Queen 
 Elizabeth honoured him fo far as to fit to him for her portrait feveral times. 
 
 One of his moft capital limnings was a whole length of that Queen in her robes, fitting 
 on her throne; and two other pictures are mentioned in very high terms of commendation) 
 the one being the portrait of his father 3 the other a portrait of himfelf. 
 
 Lawrence 
 
h r it 
 
 r 297 ] 
 
 HOB 
 
 Lawrence de la HIRE. 
 
 Painted Land/cape and Hi/lory* 
 
 DIED 1656, AGED 50. 
 
 He was born at Paris, in 1606, and devoted to the profefilon by his father, who was a 
 painter in fome degree of credit. He was the only artift of his time in France, who did 
 not endeavour to imitate the manner of Vouet; though that which he affumed was not 
 at all fuperior, and he continued a mannerift. His tafte was but indifferent; and if it was 
 more natural and finifhed than that of Vouet, yet it was not agreeable. 
 
 His landfcapes were undoubtedly the moft pleafing part of his works, for he finifhed 
 them with great care; but his figures, either in hiftorical fubjects, or in landfcape, were 
 not to be commended; being not truly natural, either in the airs of the heads, the 
 contours of the limbs and bodies, or in the fingers, which were too long, and too much 
 contorted. The keeping (as it is termed) in his pictures was exceedingly faulty, from 
 an improper and injudicious ufe- of the- aeriel perfpeetive ; for, inftead of making his 
 objects apparently die away perfpectively, his diftances were involved in a confufed 
 miftinefs, which was extremely difagreeable ; and his figures, in proportion as they 
 receded from the bafe line, were clouded and indiftinct. That defect rendered the works . 
 of this mafter generally lefs eftimable, though they are ftill commended by many of his , 
 own countrymen.. 
 
 Philip de la HIRE. 
 
 Painted Landfcapes and Conversations. 
 
 DIED I719, AGED 42.. 
 
 He was born at Paris, in 1677; and it is uncertain under what mafter he ftudied the 
 art of painting., but he chofe to imitate the ftyle of compofition, and the manner of. 
 Watteau. He painted the fame kind of fubjects with great fuccefs, and fome of his . 
 pictures are accounted to have a good degree of merit. 
 
 MlNDERHOUT HOBBIM A.. 
 
 Painted Landfcape. 
 
 This eminent painter is fuppofed to be born about the year 161 1, at Antwerp; but the 
 mafter from whom he received his inftructioh is not known. He ftudied entirely afcer nature, 
 fketching every fcene that afforded him pleafure, and his choice was exceedingly picturefque. 
 His grounds aFe always agreeably broken, and he was particularly fond of defcribing flopes 
 diverfified with fhrubs, plants, or trees, which conducted the eye to fome building, ruin, 
 grove, or piece of water, and frequently to a delicate remote diftance; every object: 
 perfpectively contributing to delude our obfervation to that point. 
 
 The. 
 
HOE 
 
 [ 298 ] 
 
 HOE 
 
 The forms of his trees are not unlike Ruyfdael and Dekker ; and in all his pictures hi! 
 fhews an admirable knowledge of the chiaro-fcuro. His colouring is extremely good, 
 and his Ikies evidently (hew that he made nature his principal director, by the fhape and 
 difpofition of his clouds, as alfo by thofe peculiar tints, by which he exprefied the rifing 
 and fetting of the fun, the morning and evening. His touch is light, free, and firm; and 
 his paintings have a very ftriking effect, by the happy diftribution of his light and fhadow. 
 The figures which he himfelf defigned are but indifferent, which was a defect imputable 
 to Claude Lorraine and Gafpar Pouflin, as well as to Hobbima; but the latter, confeious 
 of his inability in that refpect, admitted but few figures into his defigns, and thofe he 
 ufually placed- fome what removed from the immediate view, at a prudent diftance from the 
 front line. However, moft of his pictures were fupplied with figures by Oftade, 
 Teniers, and other very famous mafters, which muff always give them a great additional 
 value. 
 
 The works of Hobbima are now exceedingly fcarce, and induftrioufly fought for ; 
 and his paintings were fo highly prized a very few years ago in London, that one of 
 them was fold for above an hundred pounds; and it is probable, the works of this 
 celebrated artift are as eftimable at this day. Not many of his pictures have appeared in 
 this kingdom, although he has often been difhonoured, by having many mean performances 
 afcribed to him. But one of the molt genuine landfcapes of Hobbima, perfectly well 
 preferved, is in the poffefiion of Thomas Cobbe, Efq. in Dublin, which has been often 
 examined with fingular pleafure; and on the picture is inferibed, Minderhout Hobbima^ 
 ,1663. 
 
 John Van HOECK, or Houk. 
 Painted Hijlory and Portrait. 
 DIED 1650, AGED 50. 
 
 .He was born, according to Defcamps, about the year .1600; but according to the Chro- 
 nological Tables, the year of his birth is erroneoufly fixed in 1578. His native city 
 was Antwerp, and his early time of life was cultivated with extraordinary care by his 
 parents, who had him inftructed in the fciences and .polite literature, before his genius 
 determined him to choofe painting for his profefiion. He was then placed under the 
 direction of Rubens, whofe education had been formed in the fame manner, and a 
 fimilarity of difpofition eftablifhed a reciprocal affection between them. 
 
 When he had continued in the fchool of Rubens, till he diftinguiftted himfelf as an able 
 artift ; to acquire ftill greater improvement, he vifited Rome, and refided there for fome 
 years, ftudying after the beft models. His merit foon procured him the favour of the 
 prime Nobility and Cardinals ; and his works were admired not only in Rome, but in 
 other parts of Italy through which he travelled. At the folicitation of the Emperor 
 .Terdinand II. he went to Vienna j where he had an opportunity to exert his talents, by 
 
 c painting 
 
HOE 
 
 C 299 3 
 
 HOE 
 
 painting the portraits of the Imperial family, and alfo by adorning the churches, convents, 
 and cabinets of the Nobility, with a variety of excellent compofitions. He continued in . 
 Germany till the Arch-Duke Leopold took him in his retinue to Flanders, having before 
 honoured him with the title of his principal painter ; but he died in his own country, 
 univerfally regretted and efteemed. The portraits which he painted were remarkable for 
 their refemblance, and are accounted to be not much inferior to Vandyck. His com- 
 pofition was good, his manner of defigning ingenious j his colouring ftrong, clear, and- 
 natural j and his pencil, though delicate, was yet equal to the grandeft works in which he 
 was employed. 
 
 The portraits of the Arch -Duke Albert and Ifabella, which are in the cabinet of Prince 
 Charles of Lorraine, at Bruflels, . will always he acknowledged as a competent proof of 
 his merit in that ftylej and the altar-piece which is preferved in the church of Notre 
 Dame at Mechlin, reprefenting a Dead Chrift, with the figures of the Virgin, St. John, 
 and Mary Magdalen, beautifully executed, fufficiently evidences the ftrength of his genius 
 for hiftorical compofitions,., 
 
 Robert van HOECK. 
 tainted Battle s> Encampments, and SJkirmiJhings of Armies. 
 
 He was born at Antwerp, in 1609, and became an artift of very uncommon diftin&ion, 
 favoured in the higheft degree, by the King of Spain, and by that Monarch appointed 
 Comptroller of the Fortifications throughout all Flanders. 
 
 The pictures which he painted were generally of a fmall fize, with abundance of figures; 
 and he particularly. excelled in thofe fubje£ts which admitted of introducing the greater! 
 number of them, fuch as battles, plundering of. villages, marchings of armies, or 
 encampments. 
 
 His works are truly eftimable : his defign was exceedingly correct, his touch had unufual 
 neatnefs, and his colouring was delicate. In all his compofitions he defigned an incon- 
 ceivable multitude of figures, in a fmall compafs ; fo that it feemed difficult even to the eye 
 to obferve the variety, though every figure, when nicely examined, appeared diftinft, and 
 correctly defigned. 
 
 Gerard HOET. 
 
 Painted Hijlory and Landfcape* 
 DIED I733, AGED 85. 
 
 He was born . at Bommel, in 1648, and was a difciple of Warnard van Ryfen, an 
 excellent painter, who had been bred in the fchool of Poelemburgj but his genius foon 
 exerted itfelf in fuch a manner, that he was enabled to proceed happily in his profeflion, 
 without being indebted to any inftructor. 
 
 When he commenced artift, he was at firfl invited to Cleve, where his paintings 
 procured him very great credit j but he. was afterwards prevailed on to vifit France: yet 
 
 in 
 
H O L 
 
 t 3°° 1 
 
 fiOl 
 
 in that kingdom he had not the good fortune to meet with encouragement, in any degree 
 proportioned to his merit; and therefore he turned his attention to England, whither 
 he certainly would have directed his courfe, had he not been difluaded by Vofterman, 
 who at that time was preparing to leave the Court of London. At laft he fettled at 
 Utrecht, and in that city and its neighbourhood. found a fufficient number of admirers and 
 friends who conftantly employed his pencil; and afforded him continual opportunities to 
 difplay his abilities, in executing feveral grand and beautiful defigns for cielings, falons, 
 and fuperb apartments, and alfo in finifhing a great number of eafel pictures for their 
 cabinets. 
 
 The reputation of Hoet, for knowledge and fkill in his profeflion, was fo univerfally 
 eftablifhed at Utrecht, that he was appointed director of an academy for drawing and 
 painting, which he conducted with great honour to himfelf, and remarkable advantage to 
 his pupils. He had a lively -imagination, a very ready invention, and a fine genius for 
 compaction; as alfo a nice adherence to the coftume. His manner of painting was clean 
 and neat, and he was thoroughly mafter of the true principles of the chiaro-fcuro. His 
 figures in general are defigned with elegance, and drawn with correctnefs ; his colouring 
 is lively, natural, and full of harmony, from the judicious oppofition of his light and fhadow j 
 his touch is light and firm, and his pictures have a great deal of tranfparence. His fmall 
 eafel paintings are exceedingly delicate in the touch, and the finifhing ; and yet his larger 
 works are always penciled with a freedom that is fuitable to thofe grander compofitions. 
 
 Many capital pictures of this mafter are in the palace of Slangenberg ; and his eminent 
 talents may be feen in the grand ftair-cafe at Voorft, the feat of the Earl of Albemarle. 
 In Holland, and alfo in our kingdoms, feveral charming pictures of Hoet are preferved ; 
 fome of them in the manner of Poelemburg, and others in the ftyle of Carel du Jardin. 
 
 John, or Hans HOLBEIN. 
 Tainted Portrait and Hi/iory. 
 
 DIED 1554, AGED 56. 
 
 This admirable painter was born at Bafle, in 1498, and inftructed in the art by his 
 father John Holbein. In the early part of life he purfued his ftudies with inceflant 
 ailiduity; and being pofTelfed of an elevated genius, his progrefs was exceedingly rapid ; fo 
 that he foon became far fuperior to his inftructor. He excelled all his cotemporaries in 
 portrait; and in that ftyle arrived at fo high a degree of perfection, that Zucchero, who 
 certainly was well qualified to judge of his merit, did not hefitate to compare his portraits 
 with thpfe of Raphael and Titian. 
 
 He painted equally well in oil, water-colours, and diftemper, in large and in miniature; 
 .but he had never practifed the art of painting in miniature, till he refided in England, and 
 learned it from Lucas Cornelii ; though he afterwards carried it to its higheft perfection. 
 His paintings of that kind have all the force of oil colours, and .are finimed with the 
 .utmoft delicacy. In general he painted on a green ground, but in his fmall pictures 
 Jrequently he painted on a blue. 
 
 TThe 
 
H O L 
 
 f 3°* ] 
 
 HOI, 
 
 The invention of Holbein was furprifingly fruitful, and often poetical ; his execution 
 •was remarkably quick, and his application indefatigable. His pencil was exceedingly 
 delicate; his colouring had a wonderful degree of force; he finifhed his pictures with 
 exquifite neatnefs ; and his carnations were life itfelf. His genuine works are always 
 diftinguifliable by the true, round, lively imitation of flefh, viiible in all his portraits, and 
 alfo by the amazing delicacy of his finifhing. 
 
 He viilted London at the requeft of Erafmus, who recommended him to Sir Thomas 
 More; and Sir Thomas immediately employed him, fhewed him every mark of refpedt 
 and real friendfhip, entertained him at his own table, allowed him an apartment in his 
 houfe, and detained him for three years. In which time he painted the portraits of his 
 patron, and all the family of Sir Thomas ; as alfo feveral portraits of his relations and 
 friends, which were hung up in a grand hall. As foon as King Henry VIII. beheld thofe 
 performances, he was fo ftruck with their beauty, their life, and admirable likenefs, that 
 he took Holbein into his fervice, and favoured him highly as long as he lived. 
 
 It is obferved by moft authors, that Holbein always painted with his left hand ; though 
 one modern writer objects againft that tradition, (what he confiders as a proof) that in a 
 portrait of Holbein painted by himfelf, which was in the Arundelian collection, he is 
 reprefented holding the pencil in the right hand. But, with great deference to the opinion 
 of that ingenious connoifTeur, that evidence cannot be fufficient to fet afide fo general a 
 teftimony of the moft authentic writers on this fubject; becaufe, although habit and 
 practice might enable him to handle the pencil familiarly with his left hand, yet, as it is 
 fo unufual, it muft have had but an unfeemly and aukward appearance in a picture ; which 
 probably might have been his real inducement for reprefenting himfelf without fuch a 
 particularity. Befides, the writer of Holbein's life, at the end of the treatife by De Piles, 
 mentions a print by Hollar, ftill extant, which defcribes Holbein drawing with his left 
 hand. Nor is it fo extraordinary or incredible a circumftance ; for other artifts, mentioned 
 in this volume, are remarked for the very fame habit ; particularly Mozzo of Antwerp, 
 who worked with the left ; and Amico Afpertino, as well as Ludovico Cangiagio, who 
 worked equally well with both hands. 
 
 The genius and excellence of this matter were fufficiently fliewn in the hiftorical ftyle, 
 by two celebrated compofitions which he painted in the hall of the Steel-yard Company ; 
 and they were univerfally admired for the richnefs of the colouring, as alfo for the ftrong 
 character in the figures through the whole. Zucchero, on feeing thofe pictures, exprefled 
 the higheft efteem for Holbein, and even copied them in Indian ink. 
 
 Abbe du Bos obferves, that the altar-piece at Bafle, painted by Holbein, may be compared 
 with the befl: productions of Raphael's difciples for compofition, and preferred to them 
 with refpedt to colouring ; that he fhews a greater degree of knowledge of the chiaro- 
 fcuro, and particular incidents of light that are truly marvellous. That obfervation or 
 Du Bos may perhaps be confidered by fome judicious readers as a juft defcription of the 
 perfections of Holbein; and to others of equal tafte and judgment, it may appear as an 
 
 R r encomium 
 
HOL [ 302 ] HON 
 
 encomium a little too high ftretched. Holbein undoubtedly had many excellencies, which 
 procured him, very defervedly, the admiration of all Europe; but to equal him in portrait 
 with Raphael and Titian, as Zucchero did, or to place him on an equality with the beft of 
 Raphael's difciples in compofition, as Abbe du Bos has done, feems to be not altogether 
 }uftifiablej for, notwithstanding the abundant merit of this mafter in many refpects, it 
 cannot be denied that the German gout predominates through mod, if not all of his- 
 compofitions. 
 
 It is indeed to be lamented, that fuch a number of pictures are pofitively afferted to be 
 of the hand of Holbein, which are a difhonour to his pencil j but any judicious perfon^ 
 who hath obferved one genuine picture, will not eafily be impofed on. 
 
 In the Florentine collection are the portraits of Holbein, Luther, Sir Thomas More, and 
 Richard Southwell, all painted by this mafter ; and in the cabinet of the King of France,, 
 befide feveral portraits, there is an hiftorical fubject by Holbein, reprefenting the Sacrifice 
 of Abraham, which is accounted a fine performance. 
 
 Cornelius HOL STEIN. 
 Painted Hi/lory.. 
 
 He was born at Haerlem, in 1653, the fon and alfo the difciple of Peter Holftein* 
 a painter on glafs, by whofe careful inflruction he became an artift of confiderable- 
 eminence. 
 
 Among many applauded pictures of this mafter, Houbraken mentions one which he had 
 the opportunity of examining ; it reprefented the Triumph of Bacchus ; and feveral naked 
 figures, particularly of boys, were introduced in the defign. He defcribes it as being 
 well compofed, correctly drawn,, and pleafingly coloured j and although a large fum had 
 been paid for it, yet even that large fum feemed to be far fhort of its value. He alfa 
 mentions the cieling of the Treafury at Amsterdam, as being exceedingly well defigned 
 and executed.. 
 
 Gilles HONDEKOETEL. 
 Painted Landfcapes^ and Live Fowl. 
 
 He was born at Utrecht, in 1583, and imitated the ftyle of compofition, and the manner 
 of colouring, of Roland Savery, and David Vinckenbooms. He ftudied after nature thofe 
 views which he intended for his landfcapes, and in general made an agreeable choice. 
 The forms and leafing of his trees are more in the tafte of Vinckenbooms than Savery ; 
 but they are well handled, and firmly penciled, though fometimes perhaps they are a little 
 too brown, or too yellow. 
 
 He painted different kinds of fowls with fingular truth and exadtnefs, and frequently 
 filled his fmall landfcapes with no other objects ; but thofe he ftnifhed highly, and with 
 great tranfparence of colouring, 
 
 Gysbrchte 
 
HON 
 
 I 303 3 
 
 hi Q N 
 
 Gysbrecht HONDEKOETER. 
 
 Painted Fowls. 
 
 He was born at Utrecht, in 161 3, the fon of Gilles Hondekoefter, from whom he learned 
 defign and colouring. The fubje<5ts he pointed were, cocks, hens, <ducks, and other domeftic 
 fowls, which he defcribed in a lively and ftrong manner, giving his objects agreeable 
 attitudes, and colouring them exactly after nature. The works of this mafter are very often 
 injudicioufly afcribed to his Ion, although the paintings of Gyfbxecht are in every refpect 
 abundantly inferior to thofe of Melchior Hondekoeter. 
 
 Melchier HONDEKOETER. 
 Painted Fowls. 
 
 DIED 1695, AGED 59. 
 
 He was the fon of Gyfbrecht Hondekoeter, born at Utrecht, in 1636, and from his 
 infancy was carefully trained up to the profeflion by his father. He chofe the fame 
 fubjects; but, in his manner of painting them, he furpaffed not only his mafter, but 
 even the beft of his cotemporaries, in a very high degree. Till, he was feventeen years 
 of age he praCtifed under the direction of Gyfbrecht, and accuftomed himfelf to paint 
 feveral forts of birds ; but particularly he was pleafed to reprefent cocks, hens, ducks, 
 chickens, and peacocks, which he defcribed in an elegant variety of actions and 
 attitudes. 
 
 After the death of his father, which happened in 1653, he received fome inftructions 
 from his uncle John Baptift Weeninx ; but his principal and beft inftructor was nature, 
 which he ftudied with intenfe application, and that enabled him to give to every animal he 
 painted fuch truth, fuch a degree of force, expreflion, and life, as feemed to equal 
 nature itfelf ; nor did any artift take more pains to ftudy every point that might 
 conduce to the perfection of his art. His pencil was wonderfully neat and delicate j his 
 touch light, his colouring exceedingly natural, lively, and remarkably tranfparent; and 
 the feathers of his fowls were expreffed with fuch a fwelling foftnefs, as might readily 
 and agreeably deceive the eye of any fpectator. 
 
 It is reported, that he had trained up a cock to ftand in any attitude he wanted to 
 defcribe, and that it was his cuftom to place that creature near his eafel; fo that, at the 
 motion of his hand, the bird would fix itfelf in the proper poftmre, and would continue 
 in that particular pofition, without the fmalleft perceptible alteration, for feveral hours at 
 a time. 
 
 The landfcapes which he introduces as the back grounds of his pictures, are adapted 
 with peculiar judgment and fkill, and admirably finifhed ; they harmonife with his fub- 
 ject, and always increafe the force and the beauty of his principal objects. His touch 
 was very fingular in imitating the natural plumage of the fowls he painted; which .not 
 only produced a charming effect, but alio may prove ferviceable to an intelligent obferver, 
 
 R r 2 "to 
 
HON 
 
 t 304 ] 
 
 H O ft 
 
 to affift him in determining which are the genuine pictures of this mafter, and which are 
 impofitions. The works of Hondekoeter are juftly in very great requeft and eftimation, 
 and they generally afFord a large price, almoft in proportion to their value. 
 
 Abraham H O N D I U S. 
 Painted Land/capes, Animals, Huntings, and Converfations. 
 
 DIED 169I, AGED 53. 
 
 This painter, who is well known in our kingdoms, was born at Rotterdam, in 1638, 
 according to the moft authentic writers, though Defcamps fixes his birth in 1650, twelve 
 years later. He appears to have been an univerfal mafter, painting, with equal readinefs, 
 Jandfcapes, animals of all kinds, particularly dogs, huntings of wild animals, boars, 
 deer, wolves, and foxes, as alfo convefations and fowls; but his favourite fubjects were 
 huntings. 
 
 His manner feems peculiar tohimfelf; it was bold and free; and, except Rubens and 
 Snyders, few mafters have painted animals in a greater ftyle, or with more ipirit. There 
 is certainly a great deal of fire in his compofitions ; but his colouring is often extrava- 
 gant, and his drawing extremely incorrect. In general his penciling was harm, ahd he 
 delighted in a fiery tint ; yet fome of his frtiall pictures are very neatly finifhed. There 
 is a great inequality as to the merit of the works of Hondius, fome of them being in 
 every refpeft abundantly fuperior to others ; but there is fcarce any mafter whofe compo- 
 fitions are fo eafily diftinguifhable as thofe of Hondius, by certain particularities in his 
 touch, his tafte of defign, and his colouring. 
 
 Several of his pictures of dogs are much efteemed; and one efpecially is mentioned, in 
 which he reprefented thirty different fpecies of thofe animals, all being well defigned, and 
 every diftinct animal being character ifed with fome peculiar air, action, expreflion, Or 
 attitude. As he was exceedingly harafTed and tormented with the gout, the works of his 
 latter time are more negligently executed than thofe which he finifhed in his prime; 
 and, therefore, they very much contribute to leffen the reputation he had acquired by 
 fome of his more ftudied and better-finifhed performances. 
 
 His moft capital picture is the burning of Troy, in which there are a variety of figures, 
 many of them well defigned, and difpofed with judgment. Houbraken alfo mentions a 
 candle-light of this mafter's hand, in which appeared a fine oppoiition of light and ihadow» 
 and the figures Were extremely well defigned and well coloured. 
 
 Gerard HONTHORST. 
 Painted Hifiorj, Portrait, and Candle-light Pieces* 
 
 DIED l660, AGED 68. 
 
 He was born at Utrecht, in i 592, and was placed as a difciple with Abraham Bloemart : 
 >>ul when he quitted that mafter, he travelled to Rome, and proceeded fo happily in his 
 
 ftudies, 
 
HON 
 
 C 305 3 
 
 HON 
 
 ftudies as to be accounted one of the beft artifts of his time. He continued at Rome 
 for feveral years, being employed there by perfons of the firft rank, and particularly by 
 Prince Juftiniani, for whom he performed many confiderable works. 
 
 His particular excellence was ftiown in his night-pieces, reprefenting figures by candle- 
 light, which ufually were as large as life. Even Rubens profefled himfelf an admirer of 
 his paintings in that ftyle j and Sandrart highly commends a picture of the Decollation of 
 St. John by torch-light, which he faw at Rome, in the church of Madonna della Scala. 
 He alfo mentions another in the Juftiniani gallery, of which the fubjecl: is, Chrift brought 
 bound before Pilate, in a white robe ; and in that compofition, the light proceeding from 
 the flambeau and torches produced fo uncommon a luftre, and fo bold an effect, that no 
 preceding artift had performed any thing in that ftyle that could be compared with it. 
 Sandrart alfo obferves, that Honthorft was as much diftinguifhed, while he refided at 
 Rome, for his night-pieces in large, as Elflieimer was for his manner of defigning the 
 lame fubjects in fmall. 
 
 Soon after his returning to his own country he vifited London, and obtained the 
 favour of King Charles I. by feveral grand performances and portraits j efpecially by 
 one allegorical picture, in which he reprefented the portraits of the King and Queen, in 
 the characters of two deities, and the portrait of the Duke of Buckingham in the 
 character of Mercury, introducing the liberal arts to that monarch and his confort. 
 For that compofition, which was well drawn and extremely well coloured, the King pre- 
 sented him with three thoufand florins, a fervice of plate for twelve perfons, and a beau- 
 tiful horfe j and he had afterwards the honour to inftruct the Queen of Bohemia, and the 
 Princefles her children, in drawing. 
 
 His pencil is free and firm, and his colouring hath a great deal of force, although 
 it often is not pleafing, by a predominancy of the yellow and brown tints j yet un- 
 doubtedly Honthorft would have been an excellent painter, if he had known how to • 
 jjive more grace, and more correctnefs to his figures. 
 
 At his return from London to Holland, he adorned the pleafure-houfes of the Prince 
 of Orange with many poetical fubjects, which he executed in frefco as well as in oil ; 
 but he principally was employed in painting portraits, which are defcribed as having 
 good expreflion, and extraordinary life and force, by their broad mafles of light being 
 con trailed by ftrong fhadows. 
 
 William HONTHORSt 
 
 Painted Hi/lory and Portrait, 
 
 DIED I683, AGED 79. 
 
 This painter, who was brother to Gerard Honthorft, was born at Utrecht in 1604, 
 
 and learned the art of painting from Abraham Bloemart The portraits which he painted 
 
 were very much efteemed, and in reality thofe were his moft commendable performances ; 
 
 for the hiftorical fubjects of his hand, which generally were painted in a large fize, are in 
 
 ho degree equal to thofe of Gerard, either in refpedt of the compofition, the handling, or 
 
 the colour, although they are frequently fold for the works of that mafter* 
 
 3 Peter 
 
HOO 
 
 r 306 3 
 
 HOO 
 
 Peter de HOOGE, 
 
 Painted Converfations. 
 
 BORN ABOUT THE YEAR 1643. 
 
 Neither the native city, nor the mafter of this painter, are afcertained by any of the 
 writers on this fubject; but, by his manner of painting, Defcamps accounts him to have 
 been one of the, beft difciples of Berchem. However, he feemed to admire and imitate 
 the manner of Mieris, Metzu, and Slingeland, although, in the finifhing of his pictures 
 he did not arrive at the perfection of thofe great artifts. 
 
 The heads and hands of his figures have fometimes a degree of force, fcarce un- 
 worthy of being compared to Vandyck ; but his touch is more broad and free than either 
 Metzu or Mieris, and he falls far ftiort of their exquifite neatnefs. His pencil is light 
 and firm ; his defign correct and in a good tafte, as if he had been inftructed in fome 
 celebrated fchool. His ufual fubjecls are converfations, in which the draperies of his 
 figures are taken from the modes of the times j and as to his colouring, it is extremely 
 jgood, natural, and ftrong. 
 
 Dirk, or Theodore van HOOGESTRAETEN. 
 
 Painted Landfcapes and Still Life. 
 
 DIED 164O, AGED 44. 
 
 He was born at Antwerp, in 1596, and at firft was bred to the goldfmith's buflnefs 
 and engraving; but having by accident gained the friendship of fome Flemifti painters, 
 who inftructed him in the rudiments of the art, he very foon became fuch an extraordi- 
 nary proficient, that he quitted his original profefTion, and devoted himfelf entirely to 
 painting. 
 
 He acquired a free manner of handling, and defigned his fubjedts in a good tafte, 
 diftinguifliing himfelf above many of thofe artifts who had from their infancy been 
 regularly trained to the profeflion ; and as he made it his conftant practice to ftudy after 
 nature, the fcenes of his landfcapes, and all the objects he chofe to paint, were repre- 
 fented with great truth and exactnefs. 
 
 Samuel van HOOGESTRAETEN. 
 Painted Portrait, Hi/lory, Landfcapes, Statues, and Perfpeclive. 
 
 DIED 1678, AGED 5 1. 
 
 He was bornatDort, in 1627, and learned the firft principles of the art from . his 
 father Theodore van Hoogeftraeten, who took all poffible care of his education; and 
 when by ftudy and practice he feemed qualified for greater improvement, he was placed as 
 ,a difciple with Rembrandt. For fome time he retained the manner of that mafter, parti- 
 cularly 
 
HOO 
 
 I 307 1 
 
 H O 3 
 
 cularly in his portraits, and' painted with fuccefs; but he difufed it gradually, and 
 adopted another from which he never afterwards departed. 
 
 He had a fpirit Co emulous, that in whatsoever fubjects he faw others excel, he was 
 folicitous to imitate them, and felt an ambition to arrive at an equal degree of eminence 
 in every particular branch ; whether it was landfcape, animals, architecture, calms at fea 7 
 ftorms, fruit, or flowers ; and each of thofe fubj.ec~ts he painted agreeably. He was 
 employed by the Emperor at Vienna, to whom he prefented three pictures of his own 
 painting; one, a portrait; another, Chrift crowned with Thorns; and the third, a piece 
 of ftill life, highly finifhed ; with which that Monarch feemed to be exceedingly pleafedj . 
 and he honoured the artift with a chain of gold, and a medal. 
 
 From Germany he vifited Rome, with a defire of improvement; and, after fome time 
 fpent in contemplating the curiofities of that city, he went to England, where he received 
 fo much encouragement and kindnefs,, as enabled him, in a few years, to return to hist 
 own country extremely enriched, as moft foreigners do who vifit that land of liberality 
 and munificence, if they have merit in any profeflion. His portraits were remarkable, 
 for good handling, for an agreeable likenefs, and. a good tone of colouring, as well as for. 
 retaining their original ftrength and luftre for a long time. The hiftorical pictures of his. 
 hand are well defigned; but the colour of his draperies does not pleafe the judicious ; and 
 it muit be confeffed, that there is fomewhat dry and ftiff in his maimer. 
 
 John HOOG Z A A T. 
 
 Painted Hi/lory.. 
 
 DIED 17 12, AGED 58. 
 
 He was born at Amfterdam, in 1654, was placed as a difciple with Gerard Lai refle, 
 and accounted one of the belt of thofe artifis who were formed in that fchool. LairefTe. 
 was always profufe in his praife, and recommended him to the favour of the principal. 
 Nobility, who foon afforded him opportunities of eftablifhing his reputation. 
 
 He was equally qualified to paint in large or in fmall ; and in all his works fhewed aa 
 good genius, a great deal of fpirit, and a maff erly execution. King William III. efteemed.'. 
 him highly, and employed him to adorn feveral apartments in his palace at Loo». 
 
 John H OS KINS. 
 
 Painted Portraits 
 
 DIED 1664, 
 
 He was taught to paint portraits in oil, when he fu-ft applied himfelf to ffudy the art of. 
 painting,, and followed that manner for fome years; but afterwards he practifed miniature,. . 
 and in that way exceeded any of his peiformances in oil. King Charles, the Queen, and 
 many of the Nobility, fat to him; and he had the fatisfaction to form two diftinguiflied . 
 difciples, Alexander and Samuel Cooper, the latter of whom proved far fuperior to hi& 
 mafter, and extended his reputation through all Europe. 
 5. 
 
HO U 
 
 t 3<* ] 
 
 H O U 
 
 In the heads painted by Hofklns there is a great character of nature and truth ; but 
 the carnations want variety of tints, and appear too much of a brick-colour. However, 
 Mr. Walpole (who is a very competent judge) mentions one work of Hofkins which, 
 he fays, may be accounted perfect; it is a portrait of a man, rather young, in which he 
 thinks the colouring equal to Oliver, and the hair is touched with exquifite freedom. 
 It is in the poffeflion of Mr. Fanfhaw. 
 
 Cornelius HOUSEMAN, or HUYSMAN. 
 
 Painted Landfcapes and Animals* 
 
 DIED I727, AGED 79. 
 
 He was born at Antwerp, in 1648; bat lived moflly at Mechlin, and for that reafon 
 he is diftinguifhed by the appellation of Houfeman of Mechlin. He was fon of an 
 eminent architect:} and being deprived of his parents while he was very young, his 
 uncle, who took care of his education, placed him with Gafpar de Witt, from whom he 
 learned to paint landfcapes ; though he was principally indebted to the ftudy of nature for 
 his tafte of defign. But, while he was under the direction of that mafter, happening 
 accidentally to fee fome of the works of Artois, they affected him to fuch a degree, that 
 he went directly to Bruffels in fearch of that painter, and became his difciple. 
 
 No fooner had he commenced artift, than he attracted the eyes, the attention, and the 
 approbation of the beft judges ; and particularly of the celebrated Vander Meulen, who 
 was at that time on his journey through FJanders. That great artift, to mew how highly 
 he efteemed the merit of Houfeman, offered him a confiderable pennon, and every 
 encouragement, to engage him in the fervice of the French King. But, as his abilities 
 were well known in Mechlin, and through all the Low Countries, which furnifhed 
 him with fufficient employment at home, he politely declined all thofe generous offers, 
 and lived entirely at Mechlin. 
 
 For fome years he retained the manner of his mafter Artois, in all his compofitions, 
 and with great fuccefsj but afterwards he formed a manner peculiar to himfeif, that was 
 much fuperior. Houfeman is confidered as one of the beft among the Flemifh painters 
 of landfcape: his ftyle is extremely in the tafte of the Italian fchool; his colouring is 
 bold, and his touch free and excellent; and, in moft of his pictures, he is fond of intro- 
 ducing a ftrong, warm mafs of light, breaking on fome part of his fore-ground, which is 
 ufually much enriched with plants and herbage. He always painted the figures and 
 animals in his own landfcapes, and defigned them well ; and frequently he was employed 
 by other artifts, to adorn their landfcapes with cattle and figures, Minderhout, Achtfchel- 
 lings, and Artois, being of the number. 
 
 He alfo painted the landfcapes in the back-grounds of hiftorical pictures, for other 
 artifts of confiderable eminence. 
 
 In all his compofitions he produced a fine effect, by the oppofition of his lights and 
 fliadows, judicioufly contrived; and he had a remarkable frappinefs in reprefcnting the 
 
 hilly 
 
H O U 
 
 C 309 3 
 
 HUB 
 
 billy grounds, or diftant mountains. His buildings, trees, and ikies, are all copied from 
 nature, and they muft always afford pleafure, as they have abundance of truth, and 
 excellent penciling. 
 
 James HOUSEMAN, or HUYSMAN. 
 Painted Hijiory and Portrait. 
 
 DIED 1696, AGED 4O. 
 
 He was born at Antwerp, in 1656, and ftudied under Backereel , who had been a 
 difciple of Rubens, and afterwards became a competitor with Vandyck. But Backereel 
 being perfecuted by the Jefuits, on account of fome fatirical verfes which he had written 
 againft them, and obliged to fly from his country, Houfeman, left deftitute, went to 
 England, and painted both hiftory and portrait fucceisfully, being accounted to rival Sir 
 Peter Lely in the latter. Several of his works are ftill to be feen, which are as highly 
 finimed, and coloured with as much force as any of Sir Peter's. 
 
 In his own judgment he preferred the portrait which he painted of Queen Catherine, 
 to all his other performances ; but certainly the moft capital work of this mafter was 
 over the altar of the Queen's chapel, at St. James's ; and fome Cupids, of his painting, 
 have been juftly and extremely admired. 
 
 John Rudolph HUBER. 
 Painted Portrait and Hijiory. 
 
 DIED I748, AGED 80. 
 
 He was born at Bafle, in Switzerland, in 1668, and learned the rudiments of the art 
 from Gafpar Meyer, an indifferent painter; but in a ftiort time he furpaffed his inftru£lor, 
 and placed himfelf as a difciple with Jofeph Werner, where he changed his early manner j 
 and by ftudying after fome good cafts taken from antique ftatues, he proved a very good 
 defigner. At the age of nineteen he went to Italy, and flopped firft at Mantua, where he 
 ftudied the works of Julio Romano, and copied them carefully before he vifited any other 
 cities of Italy. At Verona and Venice he particularly ftudied Titian, and was fo 
 indefatigable, that he was confidered as a pattern to thofe of his own profefllon. 
 
 While he refided at Venice, he was exceedingly careffed by Tempefta, and painted 
 the figures in the landfcapes of that eminent mafter, as long as he continued in that 
 city. He alfo copied many of the works of Baflan, Titian, Tintoretto, and Paolo 
 Veronefe, during three years which he fpent with Tempefta; and likewife critically 
 obferved what peculiarity of tafte, colouring, or pencil, conftituted the excellence of each. 
 From Venice he vifited Rome, where he found new opportunities of improving, by the 
 amazing productions of Raphael, Guido, and the Caracci ; and what ftill added to his 
 
 S s advantage 
 
HUG 
 
 I 310 j 
 
 HUG 
 
 advantage was, that he obtained the friendfhip of Carlo Maratti. That great matter 
 appeared pleafed with Huber's manner of colouring and defignjhe took delight to promote 
 his knowledge, and aflifted him freely with his advice and inftruction on every occafion. 
 But having obferved him to be very much inclined to paint portraits in miniature, he 
 took pains to difluade him from it; and wifhed him to referve himfelf for works of a. 
 nobler character. 
 
 After a refidence of fix years at Rome, which he fpent in defigning the antiques,, 
 attending the academy, and purfuing his ftudies day and night with unwearied diligence, 
 he returned to his native city, where his merit foon procured him every mark of 
 diftinction. His firft remarkable work was a family-piece for the Marquis of Baden, 
 Dourlach, of a very large fize; by which he gained the greateft applaufe,, and his 
 reputation was fpread through all Germany. He was alfo employed by the Duke of 
 Wirtemberg, who appointed Huber his principal painter, and gave him fufficient oppor- 
 tunity to exert his genius in hiftorical compofitions for the cielings and walls of his grand 
 apartments; nor was there a Prince in Germany who did not feem folicitous to poflefs 
 fome of Huber's performances. 
 
 It is remarked of him, that he painted three thoufand and fixty-five portraits, beiides a: 
 great number of hiftorical pictures, all of them finiflied by his own hand,, unaf&fted by any 
 other artift ; and, by way of diftinction, he was commonly called the Tintoret of Switzer- 
 land. The colouring of this mafter is bold and ftrong, his touch light, and he fhewed 
 great freedom and readinefs of hand in all his beft works. Yet it ought to be obferved that,, 
 among the paintings of Huber, there are feveral of a very inferior degree of merit; which 
 probably might have been occafioned by the prodigious number of paintings in which he. 
 was -engaged, and his unwillingnefs to difoblige by a refufal; therefore, his character is- 
 drawn only from thofe works which he finifhed with a proper degree of attention and 
 care. He defigned correctly, having acquired that habit by his ftudies at Rome, and his 
 obfervation of nature; and though he lived to the age of fourfcoxe, yet the vigour of his 
 genius fubfifted to the laft year of his life. 
 
 Lucas HUGENSE. Vid. Lucas Van Leyden.. 
 
 John Van HUGTENBURGH. 
 
 Painted Battles, Encampments,, and Huntings. 
 
 * DIED 1733, AGED 87. 
 
 This eminent mafter was born at Haerlem, in 1646; and it is aflerted by fome writers, 
 that he received his firft inftruction from his father, who was an artift in good efteem. But 
 
 it 
 
 * There appears a considerable difference among writers in the dates of the death and age of this mafter j for, according 
 to Defcamps, he died in 1733, aged 87 ; according to the Chronological Tables, he died in 1730, aged 84 ; and, according 
 to Houbraken, he died in 1719, aged 73 ; but 1 have preferred the authority of Mr. Defcamps. 
 
HUG 
 
 [ 3" ] 
 
 HUG 
 
 it is allowed by moft, that his intimate connexion with John Wyck was what chiefly 
 contributed to give him an early fondnefs for the profeffion ; and that, by the frequent 
 opportunities he had of obferving the manner of that mailer's working, aided by excellent 
 instructions, he made fo rapid a progrefs, as immediately difcovered the ftrength and the fire 
 of his genius. 
 
 He had a brother, Jacques Van Hugtenburgh, who lived at Rome, and had been a difciple 
 of Nicholas Berchem, which determined John to undertake a journey to Italy to vifit him; 
 and when he arrived in that city, he was amply rewarded for his fatigue and expence, by 
 having the moft admirable models to form his tafte of defign, and the directions of his 
 brother to guide his judgment; and his improvement was proportionably evident. But 
 the death of his brother compelled him to difcontinue his ftudies, and leave Italy; and, 
 returning through France, he fpent fome time with Vander Meulen, at Paris, in which 
 artift he had the happinefs to find a friend and an inftructor, who freely communicated to 
 him every fecret of his art. 
 
 At his return to Holland, his works very foon raifed him to the higheft rank of credit, 
 and recommended him to the particular favour of Prince Eugene, who employed him to 
 paint all thofe battles and fieges which he had fo happily conducted. So that Hugtenburgh 
 had the honour to defign all the operations of that war (the victories of that great general, 
 and the Duke of Marlborough) with the utmoft exactnefs, and with univerfal applaufe. 
 He was alfo engaged for fome time in the fervice of the Elector Palatine, who teftified 
 the efteem he had for this artift, by prefenting him with a chain of gold and a medal. 
 
 Hugtenburgh had an elegant tafte of compofition and defign; he ftudied nature 
 accurately, and by that means not only gave great correctnefs to his figures and cattle, 
 but the expreflion, action, motion, and attitude, that beft fuited every character, and every 
 object. The countenances of his figures are fkilfully and properly diveriified, according 
 to the different people which his fubject required him to reprefent: the features of a 
 Turk, a Sclavonian, or a Coflack, are diftinguifhable in his paintings from thofe of other 
 -kingdoms, as much as their draperies; and one nation, in its habits and air, might at firft 
 fight be obferved to differ as it does in nature, from the air and habits of another. His 
 pencil is very delicate, his colouring remarkably tranfparent, his keeping exceedingly 
 good, and, by the aerial perfpective, his diftances are as beautifully thrown off as thofe of 
 Wouwermans. His ikies are ufually bright and clear, but they are always well adapted, 
 and he managed the chiaro-fcuro with extraordinary fkill; fo that with great juftice he is 
 accounted one of the beft battle-painters of the Low Countries. 
 
 Jacques Van HUGTENBURGH. 
 
 Painted Views of Rome, and Animals* 
 
 DIED 1669, AGED 30. 
 
 He was the elder brother of John, born at Haerlem, in 1639, and learned the principles 
 -of painting in his own country, from the celebrated Nicholas Berchem, to whom he was 
 
 S s 2 a difciple; 
 
HUL 
 
 C 312 J 
 
 Huy 
 
 a difciple; but he left Haerlem when he was a very young man, and travelled to Rome, 
 where he followed his profeflion with great credit; and, if he had not been cut off in the 
 very bloom of life, would probably have been an honour to his country. 
 
 Peter Vander HULST. 
 Painted Land/capes, Converfations, Kermes's, Flowers, and Reptiles, 
 
 DIED I708, AGED 56. 
 
 He was born at Dort, in 1652; and having been inftructed by different matters in his 
 native city, he determined on a journey to Rome; where, not finding his genius adapted 
 to grand compofitions in the hiftorical ftyle, he contented himfelf with fubjects of a lower 
 kind: and being exceedingly pleafed with the pictures of Mario da Fiori, he felt an 
 invincible ambition to imitate them, and from that time applied himfelf to paint flowers, 
 infects, and reptiles. The flowers which he chofe to paint, were of a wilder fort than 
 thofe of De Heem or Segers ; and among thofe flowers he generally introduced toads and 
 frogs, and particularly lizards and ferpents, with infects of various kinds; all which he 
 painted in perfection. When he had fpent fome years in Italy, he attempted to paint 
 portraits ; but he fucceeded not in that ftyle, as he had conftantly done in painting other 
 fubjects. 
 
 His colouring is lively and agreeable, his touch very free, and his manner of defign is 
 entirely in the tafte of the Italian fchool. His works are not fo highly finiflied as thofe 
 of Mignon or De Heem; but they fhew a particular genius in the defign, character, and 
 difpofition, rarely feen among the Flemifh painters of thofe fubjects, who are always moll 
 attentive to the neatnefs of their finifliing. 
 
 It is reported, that a great encourager of artifts propofed a prize of a diamond, worth 
 three hundred florins, to fix eminent painters; which prize was to be given to that 
 perfon whofe work mould be adjudged the beft. The fix competitors were, Jardin, Potter, 
 Slingeland, Vander Heyden, Weeninx, and Vander Hulft; and the prize was adjudged to 
 the latter. Suppofing that account to be a fact, it muft appear a demonftrative proof of 
 an extraordinary degree of merit in this mafter. 
 
 Justus Van HUYSUM, the Old. 
 Painted Landscapes, Battles-, and Flowers. 
 
 DIED 17 16, AGED 57. 
 
 He was born at Amfterdam, in 1659, and was a difciple of Nicholas Berchem. 
 While he was yet young, he gave early promifes of his having an apt genius; and it is 
 to be wifhed that he had always adhered to the ftyle and colouring of his mafter. But it 
 afterwards appeared, that by an unaccountable levity of temper, and through an ambition 
 
 to 
 
HUY 
 
 C 3*3 3 
 
 HUY 
 
 to excel in feveral branches, fuch as hiftory, portrait, battles, fea-pieces, and flowers, he 
 with difficulty made himfelf only regarded for the latter, and without any extraordinary 
 merit in any one of them. 
 
 While he employed himfelf in painting Iandfcapes, they were laborioufly high finifhed, 
 and there was fomewhat very pleafing and pi&urefque in his fcenery; yet there was 
 rather an appearance of ftiffnefs in his manner, with too great a predominancy of a 
 yellowifh tint j and his trees and fhrubs have often too pale or bright a verdure. The 
 fubjedts in which he was allowed to make the beft appearance, were flowers; in which ftyle 
 he had the honour to inftru£l his fon John Van Huyfum, who proved an ornament to his 
 profeflion, and almoft above a poffibility of being equalled by any future artift. He left 
 three fons, who became painters, and were very eminent artifts, and a fourth, who teaches 
 in Holland the art of drawing and defign. 
 
 Justus Van HUY SUM, the Young. 
 Painted Battles. 
 AGED 22. 
 
 He was born at Amfterdam, the brother of the celebrated John Van Huyfum, and died 
 when he had arrived only at his twenty-fecond year. He painted battles in a large and 
 a fmall fize, with exceeding readinefs and freedom, without having recourfe to any models; 
 and he compofed his fubjedls merely by the power of his own lively imagination, difpofing 
 them alfo with judgment and tafte. 
 
 Jacob Van HUYSUM. 
 Painted Copies of his Brother John's Works, 
 
 DIED I74O, AGED 60. 
 
 He was born at Amfterdam, in 1680, and died at London, where he had refided for 
 feveral years. His merit chiefly confifted in imitating the works of his brother John; 
 which he did with fo much critical exactnefs, beauty, and delicacy, as frequently to deceive 
 the moft fagacious connoifleurs ; and he ufually had twenty guineas for each copy. 
 
 He alfo compofed fubjedts of his own invention in the fame ftyle, which were very 
 much prized ; and his paintings increafed in their value, like thofe of his brother John. 
 
 John Van HUYSUM. 
 Painted Flowers^ Fruity and Landfcape*' 
 
 DIED 1749, AGED 67. 
 
 This illuftrious painter hath furpafled all who have ever painted in that ftyle ; and his 
 works excite as much furprife by their finifhing as they excite admiration by their 
 truth. 
 
 He 
 
H U Y [ 3 r 4 ] H U Y 
 
 He was born at Amfterdam, in 1682, and was a'difciple of Juftus Van Huyfum, his 
 father. He fet out in his profeflion with a moft commendable principle, not fo much to 
 paint for the acquifition of money, as of fame j and therefore he did not aim at expedition, 
 but at delicacy, and if poffible to arrive at perfection in his art. Having attentively 
 ftudied the pictures of Mignon, and all other artifts of diftinction who had painted in his 
 own ftyle, he tried which manner would fooneft lead him to imitate the lightnefs and 
 fingular beauties of each flower, fruit, or plant; and then fixed on a manner peculiar to 
 himfelf, which feems almoft inimitable. He foon received the moft deferved applaufe, 
 from the ableft judges of painting ; even thofe who furnifhed him with the lovelieft 
 .flowers, confefling that there was fomewhat in his colouring and penciling that rendered 
 every object more beautiful, if poflible, than even nature itfelf. His pictures are finifhed 
 with inconceivable truth ; for he painted every thing after nature, and was fo Angularly 
 exact, as to watch even the hour of the day in which his model appeared in its greateft 
 perfection. 
 
 By the judicious tie was accounted to paint with greater freedom than Mignon or 
 Brueghel ; with more tendernefs and nature, than Mario da Fiori, Michael Angelo di 
 Campidoglio, or Segers ; with more mellownefs than De Heem, and greater force of 
 colouring than Baptift. His reputation rofe to fuch a height at laff, that he fixed immo- 
 derate prices on his works; fo that none but Princes, or thofe of princely fortunes, could 
 pretend to become purchafers. Six of his paintings were fold, at a public fale in Holland, 
 for prices that were almoft incredible. One of them, a flower-piece, for fourteen 
 hundred and fifty guilders ; a fruit-piece, for a thoufand and five guilders, and the fmaller 
 pictures for nine hundred. 
 
 The vaft fums which Van Huyfum received for his works, caufed him to redouble his 
 endeavours to excel ; no perfon was admitted into his room while he was painting, not 
 even his brothers; and his method of mixing the tints, and preferving the luftre of his 
 colours, was an impenetrable fecret, which he never would difclofe. Yet his conduct is 
 certainly not to his honour; but rather an argument of a Jow mind, fearful of being 
 equalled or furpaffed. From the fame principle he would never take any difciples, except 
 one lady, named Haverman, and he grew envious and jealous even of her merit. 
 
 By ieveral domeftic difquiets his temper became changed; he grew morofe, fretful, and 
 apt to withdraw himfelf from fociety. He had many enviers of his fame, which has 
 ever been the fevere lot of the moft deferving in all profeflions; but he continued to work, 
 and his reputation never diminifhed. It is univerfally agreed, that he has excelled all 
 who have painted fruit and flowers before him, by the confeffed fuperiority of his touch, 
 by the delicacy of his pencil, and by an amazing manner of finifhing; nor does it appear 
 probable that any future -artift will ever hecome his competitor. The care which he 
 took to purify his oils, and prepare his colours, and the various experiments he made 
 to difcover the moft luftrous and durable, is another inftance of his extraordinary care 
 and capacity. 
 
 2 From 
 
HUY 
 
 C 3*5 J 
 
 HUY 
 
 From having obferved Tome of his works that were perfectly fini/hcd, fome only half 
 
 finifhed, and others only begun, the principles by which he conducted himfelf may perhaps 
 be difcoverable. His cloths were prepared with the greateft care, and primed with white, 
 with all poftible purity, to prevent his colours from being obfcured, as he laid them on 
 very lightly. He glazed all other colours, except the clear and tranfparent, not omitting 
 even the white ones, till he found the exact tone of the colour; and over that he finifhed 
 the forms, the lights, the fhadows, and the reflexions; which are all executed with 
 precifion and warmth, without drynefs or negligence. The greateft truth, united with 
 the greateft brilliancy, and a velvet foftnefs on the furface of his objects, are vifible in 
 every part of his compofitions ; and as to his touch, it looks like the pencil of nature. 
 
 Whenever he reprefented flowers placed in vafes, he always painted thofe vafes after 
 fome elegant model, and the bas-relief is as exquifitely finilhed as any of the other parts. 
 Through the whole he mews a delicate compofition, a fine harmony, and a moft happy 
 effect of light and (hadow. Thofe pictures which he painted on a clear ground, are 
 preferred to others of his hand, as having greater luftre ; and as they demanded more 
 care and exactnefs in the finilhing; yet there are fome on a darkifh ground, in which, 
 appears rather more force and. harmony. 
 
 It is obferved of him, that in the grouping of his. flowers, he generally defigned thofe 
 which were brighteft in the centre, and gradually decreafed the force of his colour from, 
 the centre to the extremities. The birds nefts and their eggs, the feathers, infects, and 
 drops of dew, are exprefled with the utmoft truth, fo as even to deceive the fpectator. 
 And yet, after all this merited and juft praife, it cannot but be confefled, that fometimes 
 his fruits appear like wax or ivory, without that peculiar foftnefs and warmth which is 
 conftantly obfervable in nature. 
 
 Befide his merit as a flower-painter, he alfo painted landfcapes with great applaufe.. 
 They are well compofed; and although he had never feen Rome, he adorned his fcenes 
 with the noble remains of ancient magnificence which are in that city. His pictures in 
 that ftyle are well coloured, and every tree is diftinguifhed by a touch that is proper for 
 the leafing. The grounds are well broken, and difpofed with tafte and judgment; the 
 figures are defigned in the manner of Laireffe, highly finifhed, and touched with a great 
 deal of fpirit; and through the whole compofition, the fcene reprefents Italy, in the trees 3 , 
 the clouds, and the fkjes, . 
 
J A C 
 
 t 3i6 ] 
 
 JAN 
 
 I. 
 
 Jurian JACOBSZ. 
 Painted Huntings, Animahy Portraits^ and Htftory. 
 
 DIED 1664, AGED 54. 
 
 ]E~3[e was born in Switzerland, in 1610, and became a difciple of Francis Snyders. 
 At firft he imitated the ftyle and manner of his mafter, painting huntings and chaces of 
 wild animals, with a great deal of fucceis ; but afterwards he devoted himfelf entirely to 
 paint portraits and hiftory ; and in all the hiftorical fubjecls of this mafter, the animals he 
 introduced, and the manner of his defigning and penciling, (hew the fpirit and tafte of 
 Snyders. 
 
 The hiftory of Venus and Adonis, and fome other compofitions of Jacobfz, are 
 exceedingly commended by the Flemifh writers j and his works were in fuch efteem, that 
 he was engaged in feveral grand defigns, by which he probably would have advanced his 
 reputation, as well as his fortune, if he had not unhappily died of the plague, which 
 fwept away his whole family. 
 
 Hubert JACOBSZ. Vid. Grimani. 
 Lang JAN. Vid. Remee. 
 
 Abraham JANSSENS. 
 Painted Hijlory. 
 
 He was born at Antwerp, in 1569, and had an admirable genius to painting. He was 
 cotemporary with Rubens, and alfo his competitor, and, in many of the fineft parts of the 
 art, was accounted not inferior to that celebrated mafter. It is reported, that having 
 wafted his time, and his fubftance, by a life of diffipation and pleafure, and falling into 
 neceflitous circumftances, which he imputed more to ill fortune than to his own neglect: of 
 his bufinefs, which was the real caufe, he grew envious at the grandeur in which Rubens 
 appeared, and impatient at his merit and fuccefs ; and, with peevifh infolence, challenged 
 him to paint a picture with him only for fame, which he was willing to fubmit to 
 impartial judges. But Rubens rejected the propofal, anfwering with modefty, that he 
 freely fubmitted to him, and the world would certainly do juftice to them both. 
 
 He was excellent in colouring, and in that refpedt had no fuperior, except Rubens; 
 his compofitions have abundance of fpirit; and as he defigned all his figures after living 
 models, thofe figures were moft commonly correctly drawn, and had a flriking appearance 
 3 of 
 
JAN [ 3i9 ] JAN 
 
 of truth and nature. His defign is elegant, his touch free, his draperies in general are 
 well caft, and his difpofition is extremely commendable ; the whole together having a 
 ftrong effect, by a judicious management of the chiaro-fcuro. Sandrart, who had feen 
 feveral of his works, affures us that he not only gave a fine roundnefs and relief to his 
 figures, but alfo fuch a warmth and clearnefs to the carnations, that they had all the look 
 of real flefh ; and his colouring was as durable as it was beautiful, retaining its original 
 luftre for a number of years. 
 
 His paintings which adorn the church of the Carmelites at Antwerp, are fufficient to 
 afford a juft idea of his merit, and to eftablifh his reputation. The fubject of one, is 
 the Virgin holding the Infant in her arms, attended with other figures ; the other is, the 
 reprefentation of Chrift laid in the Tomb. The compofition in thofe pictures is extremely 
 rich and grand; the figures are larger than life, and the defign and colouring are equally 
 excellent. In the cathedral church at Ghent, is to be feen a Defcent from the Crofs 
 worthy of Rubens, and it is often taken for his work ; but his moft capital performance 
 is the Refurredtion of Lazarus, which is in the cabinet of the Elector Palatine and is 
 juftly an object of admiration to all who behold it. 
 
 Victor Honorius JANSSENS. 
 Painted Hijiory, 
 died 17395 aged 75. 
 
 He was born at Bruflels, in 1664, and was a difciple of one Volders, under whofe 
 direction he continued for feven years j in which time he gave many proofs of a genius 
 far fuperior to thofe who were inftructed in the fame fchool. By applying himfelf 
 induftrioully to ftudy and practice, he became a good painter ; and was received into the 
 fervice of the Duke of Holftein, with a penfion of eight hundred florins, in which 
 ftation he worked for four years. At length he folicited his patron to permit him to 
 improve himfelf in Italy, that he might render himfelf more worthy of his favour ; and 
 that benevolent Prince not only indulged him, but alfo enabled him to purfue his ftudies 
 without uneafinefs, by prefenting him with fix hundred florins at his fetting out. 
 
 On his arrival at Rome, he attended particularly to the works of Raphael : he defigned 
 after the antiques, and fketched the beautiful fcenes round that city ; and in a fhort time 
 his paintings rofe in efteem, and the principal Nobility of Rome were defirous to employ 
 him. He aflbciated with Tempefta, the celebrated landfcape-painter, for feveral years, 
 and painted the figures in the works of that great mafter, as long as they refided 
 together. 
 
 JanfTens compofed hiftorical fubjects, both in a fmall and a large fize ; but he found 
 the demand for his fmall pictures fo confiderable, that he was induced to paint moft 
 frequently in that fize. He chofe Albano for his model j and in the ftyle he formed, he 
 was not equalled by any of his cotemporaries. His paintings were fo eagerly bought 
 
 T t up, 
 
JAN 
 
 JAN 
 
 up, that there was no poffibility of procuring any of them unlefs they were befpoke a 
 confiderable time before they were expected. During eleven years he continued at Rome, 
 which barely fufficed for his finifhing thofe pictures for which he was engaged; nor 
 could he have been even then at his liberty, had he not limited himfelf to a number, 
 and determined not to undertake more. 
 
 When JanlTens returned to Bruflels, his performances were as much admired as they 
 had before been in Italy ; but having married, and gradually become the father of eleven 
 children, he was compelled to change his manner of painting in fmall, and to undertake 
 only thofe of the large kind, as being more lucrative, more expeditious, and alfo more 
 agreeable to his genius and inclination. He adorned moft of the churches and palaces of 
 his own country with his compofitions ; and his extraordinary readinefs of execution may 
 be manifefted by that vaft number of pictures which he finiflied in Bruflels, and in the 
 neighbouring cities. 
 
 The invention of this artift was fruitful ; he defigned correctly, his colouring is 
 natural and pleafing, his pencil free, and the airs of his heads have beauty and elegance. 
 As to the difference between his large and fmall paintings, it is obferved, that in 
 correctnefs and tafte they had an equal degree of merit ; but the colouring of the former 
 appears more raw and cold, than the colouring of the latter; and it is agreed, that for 
 fmall hiftorical pictures he was preferable to all the painters of his time. 
 
 Cornelius JANSSEN, called Johnson. 
 Painted Portrait. 
 died 1665. 
 
 He was born at Amfterdam (though in the Chronological Tables, and in Sandrart, it is 
 improperly aflerted that he was born in London); and he refided in England for feveral 
 years, where he was engaged in the fervice of King James I. and painted feveral excellent 
 portraits of that Monarch, as alfo of his children, and of the principal Nobility of his Court. 
 
 His ftyle of colouring is clear, lively, and natural ; his touch is light, his pencil truly 
 delicate; his pictures have a peculiar foftnefs and fweetnefs in the carnations, and they are 
 finiflied with remarkable neatnefs. Janffen had not the freedom of hand, nor the grace of 
 Vandyck ; but in other refpects he was accounted his equal, and in the finifliing his pictures 
 fuperior. His paintings are eafily diftinguiflied by their fmooth, clear, and delicate tints^ 
 and by that character of truth and nature with which they are ftrongly marked. He generally 
 painted on board; and, for the moft part, his draperies are black; probably becaufe the 
 oppofition of that tint made his flefli colours appear more beautifully bright, efpecially in his 
 female figures; and the fame practice of black draperies may be obferved in many of 
 the portraits of Rubens and Vandyck, which feem to add roundnefs, relief, and livelinefs to 
 the figures. 
 
 It 
 
JAR C 3*i J JAR 
 
 It is faid that Janflen ufed a quantity of ultramarine in the black colours, as well 
 as in his carnations ; which may be one great caufe of their preferving their original luftre 
 even to this day. Frequently he painted in a fmall fize in oil, and often copied his own 
 works in that manner. His fame began to be fomewhat obfcured on the arrival of Vandyck 
 in England ; and the civil war breaking out fome time after, induced him to return to 
 his own country, where his paintings were in the higheft efteem. 
 
 A very lovely picture of Princefs Elizabeth, Queen of Bohemia, and fifter to King 
 Charles I. in perfect condition, and as clear as when it came from his eafel, is in the 
 pofleffion of the author of this book; and it fuificiently proves the extraordinary merit of 
 this mailer. 
 
 Karel du JARDYN, or J A R DIN. 
 
 Painted Conversations, Land/capes^ Roman Fairs, and Animals. 
 
 DIED 1678, AGED 38. 
 
 He was born at Amfterdam, in 1640, and was a difciple of Nicholas Berchem. The 
 ftrength of his genius appeared very early, and he diftinguiflied himfelf above all thofe 
 who were educated under that eminent mafter. However, he continued only a few years 
 in that fchooi, and travelled to Italy whilft he was yet a young man. 
 
 When he arrived at Rome, he gave himfelf up alternately to ftudy and diffipation ; and 
 if he fpent the day in forming his hand, and improving his tafte, the night was wafted in 
 pleafure and extravagance, among the joyous companions of the Bentvogel fociety. And 
 yet, amidft this irregularity of conduct, his proficiency in the art was furprifing, and his 
 paintings rofe into fuch high repute, that they were exceedingly coveted in Rome, and 
 bought up at great prices ; as the Italians preferred the tafte of Jardyn, to the tafte of 
 every other artift of his country. With an intention to vifit his native city, he at laft 
 left Rome; but pafling through Lyons, and meeting fome agreeable companions, they 
 prevailed on him to ftay there for fome time, and he found as much employment in that 
 city as he could poflibly undertake or execute. 
 
 But the profits which arofe from his paintings were not proportionable to his 
 profufionj his manner of living created immoderate expences, and by that means he was 
 ib encumbered with debts, that, in order to extricate himfelf from the diftreffed fituation 
 in which his extravagance had involved him, he was compelled to have recourfe to a moft 
 <kfperate remedy, and to marry his hoftefs, who was old and difagreeable, but very rich. 
 Mortified and aftiamed of that adventure, he returned as expeditioufly as poffible to Amfter- 
 dam, accompanied by his wife j and there for fome time followed his profeflion, with full 
 as much fuccefs as he had met with in Italy, or at Lyons. Yet he appeared difcontented ; 
 and being invited by an intimate friend, who was going to embark for Leghorn, only to 
 accompany him as far as the Texel, he laid hold of the opportunity, and returned to Rome 
 the fecond time; and after a year or two fpent there, in his ufual extravagant manner, he 
 
 T t 2 fettled 
 
I N G [ 322 ] I N G 
 
 Lettled at Venice. In that city his merit was well known before his arrival, which procured 
 him a very honourable reception. He lived there, highly carefTed, and continually employed; 
 and at his death, which happened at Venice, he was fumptuoufly interred, out of refpect 
 to his talents, and, although a Proteftant, permitted to be laid in confecrated ground. 
 
 This painter, in his colouring and touch, refembled his mafter Berchem; but he added 
 to that manner, a force which diftinguifhes the great mafters of Italy. It is obferved, that 
 moft of his pictures feem to exprefs the warmth of the fun, and the light of mid-day. 
 His pictures are not much encumbered ; a few figures, fome animals, and a little landfcape 
 for the back-grounds, generally comprife the whole of his compofition. However, fome 
 of his fubjects are often more extenfive, containing more objects, and a larger defign. 
 Probably it was to gratify the multitude of perfons who demanded his works, and perhaps 
 alfo from a diflike to too intenfe application, he chofe not ufually to comprehend too many 
 objects in his defign. 
 
 In all his compofitions he fhewed a good genius, and a good tafte, with correctnefs 
 and fpirit; and his works are as much fought after, as they are difficult to be met 
 with. He underftood the true principles of the chiaro-fcuro extremely well ; and in 
 fome fcriptural fubjects, particularly in a picture of the Crucifixion, he has fhewn 
 abundance of merit, as well in the light and fhadow, as in the clearnefs of the colouring 
 and the powerful force and effect which it produces. 
 
 A very capital painting of Jardyn is at Amfterdam; the fubjedt is, a Mountebank 
 ftandi ng among a crowd of fpectators, who are attentively liftening to his harangue. 
 Through the whole compofition, the figures are well defigned; they are grouped with a 
 great deal of judgment, and handled in a very neat and mafterly manner. 
 
 William van INGHEN. 
 Painted Hi/iory. 
 
 He was born at Utrecht, in 1651 ; and having difcovered an early fondnefs for the art 
 of painting, he was placed as a difciple with Anthony Grebber. When he had made a 
 fufficient progrefs under the direction of that mafter, to enable him to ftudy after nature, 
 and after elegant models, he determined to improve himfelf at Rome, by defigning after 
 the antiques; and Fortune was kind enough to furnifh him with a convenient opportunity. 
 For a Bifhop, who was Vicar General of the Netherlands, having a call to Rome, took 
 the young artift in his retinue, and, on his arrival at that city, recommended him to the 
 care of Carlo Maratti, who received him as a difciple. 
 
 Although Inghen continued only one year in that famous fchool, yet, by clofe ftudy, 
 and the excellent precepts of Maratti, he was rendered capable of executing feveral grand 
 works in the churches at Rome, by the recommendation of his mafter, who was fo much 
 pleafed with the abilities of his pupil, that he did him every friendly office in his power. 
 His drawing, which was firm ; his defign, which had a great portion of elegance j and, 
 
 the 
 
JON 
 
 C 323 3 
 
 J O R 
 
 the pleafing tone of his colouring, very foon procured him the favour of the Nobility, and 
 of the moft eminent ecclefiaftics, who employed him for many of the convents and 
 palaces ; and at his return to Arrafterdam, where he followed his profeflion as long as he 
 lived, his works were much coveted and admired. 
 
 LUDOLPH DE JONG. 
 
 Painted Portraits, Battles, and Huntings. 
 
 DIED 1697, AGED 8l. 
 
 He was born at Overfchie, between Rotterdam and Delft, in 1616. His father, who 
 was a fhoemaker, intended him for his own trade; but having, on fofne occafion, treated 
 Ludolph with extraordinary feverity, he ran away from his father; and finding in himfelf 
 a predominant inclination to painting, he became a difciple of Cornelius Sachtleven. 
 From that mafter he learned the principles of the art ; but afterwards he placed himfelf 
 with Anthony Palamedes, a portrait-painter at Delft, who took no pains to inftruct him 
 as he ought to have done; and therefore he quitted him, and went to Utrecht, to ftudy 
 under John Bylaert, where he made a good progrefs, and qualified himfelf to appear with 
 credit in hi s profeflion. 
 
 He vifited France, in hope of meeting encouragement, and had the good fortune to find 
 bufinefs enough to detain him there for feven years; but then he retired to Rotterdam, 
 where many of the chiefeft families engaged him, and he gained reputation and riches. 
 In the apartment of the artillery company at Rotterdam, may be feen a capital picture of 
 this matter's hand; it is very much admired, and affords an evident proof of his abilities in 
 portrait-painting. 
 
 He alfo frequently painted battles, and huntings, in a fmall fize, which are well penciled 
 and well defigned. 
 
 Jacques JORDAENS. 
 Painted Hi/lory, Allegorical Subjefls, and Bacchanals. 
 
 DIED 1678, AGED 84. 
 
 This remarkable artift was born at Antwerp, in 1 594, and was a difciple of Adam 
 van Oort, but he was indebted to Rubens for the principal part of his knowledge in the 
 art of painting; and by fome authors it is afierted, that he was admitted into the fchool of 
 Rubens, and became one of his moft famous difciples. He had always a longing defire to 
 fee Rome, in order to refine his tafte, and acquire the beft manner of defigning ; yet he was 
 prevented from carryifig that project into execution, by an early marriage, with the daughter 
 of his mafter Van Oort ; and had then no refource, but to ftudy and copy the beft pictures 
 he could procure of the greateft Italiian matters, which he did with indefatigable afliduity. 
 With an obfervant and judicious eye he examined the works of Caravaggio, Paolo 
 
 Veronefe, 
 
JOR 
 
 C 3H ] 
 
 JOR 
 
 Veronefe, Giacomo BafTan, and Titian, particularly the latter, to difcover the peculiar 
 excellence of each of thofe matters ; and having a ready genius, he received fo much 
 improvement by that conduct, that it became evident he only wanted to have feen Rome, 
 to make him equal to the beft among the Flemifh artifts. 
 
 Sandrart fays, and from him De Piles and other authors aflert, that Rubens, jealous of 
 the colouring of Jordaens, and apprehenfive of being rivalled in a point wherein his 
 own excellence confifted, employed him for a confiderable time to paint defigns for 
 tapeftries in diftemper, after his fketches ; by which, it is faid, Jordaens weakened his 
 knowledge of the principles of colouring, and enfeebled his tints, which before were 
 ftrong, and reprefented the truth of nature to a wonderful degree. 
 
 But, if it be candidly confidered, that when Jordaens worked in diftemper, he was not 
 far advanced. in life; and if it be alfo confidered, that all thofe paintings on which his 
 fame is founded, or at leaft the major part of them, muft have been fubfequent to the 
 time when Rubens employed him, and yet are admired for their beautiful, ftrong, and 
 admirable colouring; this ftory muft certainly appear not only improbable, but an impu- 
 tation unworthy of fo amiable a character as Rubens always poflefled. And it mould 
 feem, that even thofe works of Jordaens which he finifhed at a very advanced age, and 
 are allowed not to be inferior in colouring to Rubens, are fufficient to falfify and difprove 
 the aflertion of De Piles and others. 
 
 It muft be acknowledged, that notwithftanding the opportunities he had of amending 
 and refining his tafte, by ftudying the defigns of the diftinguifhed matters of Italy, his 
 Flemifti gufto ftill prevailed; though, could he have been a little more correct, more 
 elegant in his characters, with fomewhat more of elevation in his ideas, and a better tafte 
 of defign, he might have been ranked with the moft eminent in his art. However, not 
 even Rubens, his matter, was without feveral of the fame imperfections, although for 
 other parts of painting he is fo juftly admired. Rubens had a finer imagination, more 
 genius, and much nobler ideas in his characters ; but Jordaens had better exprefiion, and 
 more truth. He painted with extraordinary freedom, eafe, and expedition; there is a 
 brilliancy and harmony in his colouring, and a good underftanding of the chiaro-fcuro. 
 His compofition is rich, his expreflion natural and ftrong, but his defign wanted elegance 
 and tafte. He ftudied and copied nature ; yet he neither felected its beauties, nor rejected 
 its defects. He knew Jhow to give his figures a good relief, though he is frequently 
 incorrect in the outlines ; but his pencil is always excellent.; and for a free and fpirited 
 touch, no painter can be accounted his fuperior. 
 
 A great number of altar-pieces, painted by Jordaens, are preserved in the churches 
 through the Netherlands, which maintain the reputation of the artift; and in the collec- 
 tion of the Duke of Orleans, is the famous picture of the fatyr and man blowing cold 
 and hot ; as alfo the ftory of Pan and Syrinx, which, although the figures are as large as 
 life, and the whole admirably executed, was finifhed in only fix days. 
 
 3 
 
 GlULIO, 
 
JUL 
 
 [ 325 ] 
 
 JUL 
 
 Giulio, or JULIO Romano. 
 Painted Hijlory^ Landfcape^ and Animals. 
 
 DIED I546, AGED 54. 
 
 This memorable artift was born at Rome, in 1492, and was the firft, as well as the 
 favourite difciple of his illuftrious mafter Raphael ; during whofe life he was entirely- 
 employed to execute the defigns of that inimitable painter, and by that means his works 
 appear to have a grace and dignity, which are not difcernible in thofe which he himfelf 
 compofed after the death of Raphael. 
 
 When his imagination was permitted to take its free courfe, without correction or 
 reftraint, his compofitions are very different from thofe which he performed under the 
 guidance of a judicious director. And although his latter defigns may have the appear- 
 ance of grandeur, as being formed on the antique, and particularly on the bafs-relievos 
 which he had attentively ftudied; and although, in fome refpects, they may have a ftronger 
 expreflion, yet they certainly have much lefs of delicacy and of nature. The airs of his 
 heads have but little variety, his attitudes are frequently extravagant, his draperies very 
 indifferently difpofed, being neither grand nor elegant, eafy nor natural, but rather 
 fantaftical, and ungracefully broken. His colouring was never beautiful or commendable; 
 and in the latter part of his life, it became worfe ; for his local colours, (as De Piles 
 obferves) which were compofed of brick-colour and black, were not fupported by any 
 intelligence of the chiaro-fcuro. He was more famous as a defigner than as a painter, 
 for the livelinefs of his imagination enabled him to be very expeditious in defigning; but 
 as painting required more time, patience, attention, and labour, the vivacity of his genrus 
 rendered it too great a fatigue. However, there is fomewhat of fpirit and grandeur in 
 his compofitions, which readily diftinguifhes him; and though it may not always be 
 pleafing, will always attract the attention of perfons of tafte, and fupport that great 
 reputation which he acquired during the life of his mafter Raphael. 
 
 As he had a great fhare of erudition, and was well verfed in the writings of ancient 
 authors, he defigned hiftorical and poetical fubjects with great readinefs; and his literature 
 qualified him extremely well for compofing thofe alfo that were allegorical : yet, in his 
 ideas he had abundance of the whimfical and fantaftical, and figures of a coloffal fize 
 feemed more adapted to his genius than any others. In general he appeared to be lefs 
 guided by the ftudy of nature, than by the power of imagination ; which gave his com- 
 pofitions an appearance of what was ideally grand, but not fo ftrictly confonant with truth. 
 His being fo very converfant with the antiques, afforded him an opportunity of giving 
 a degree of dignity to his defigns ; but the true eafe, elegance, and fimplicity of the antique, 
 in which the excellence of Raphael confifted, was not the province of Julio. His tint of 
 colouring undoubtedly had too great a mixture of the black and red, which gave his beffc 
 performances a look of what was hard and dry ; which in a great meafure deftroyed their 
 effect, and injured the dignity of his defign. 
 
 The 
 
J U V 
 
 [ 326 J 
 
 J U V 
 
 The principal works of Julio are at Mantua, in the Ducal palace, of which he was 
 alfo the architect. In one of the moft fuperb apartments is reprefented the Battle of 
 the Giants, accounted the moft capital of his compofitions ; in which the groupes of 
 figures are well connected, and there appears a very grand character in the defign, but 
 there likewife appears a great deal of incorrectnefs. Many of the heads are in a fine 
 tafte, and the exprefHon is ftrong ; but in feveral parts there are great extravagancies, 
 and the colouring is too red. The ceilings are enriched with many defigns of poetical 
 and allegorical figures, fuch as Cupids and Bacchanals j and through the whole palace 
 are to be feen more of the works of Julio, than are to be met with in any other city of 
 Italy, except Rome. There is alfo one 'of his moft capital paintings in the church of 
 St. Stephen at Genoa, reprefenting the ftoning of that Martyr. 
 
 John JUVENET, or JOUVENET, 
 
 Painted Hijlory, Portrait^ and Allegorical Subjefts. 
 
 DIED I717, AGED 73. 
 
 He was born at Rouen, in 16444 and his father, who was a painter, bred him up to 
 the fame profeffion, and taught him the firft principles of the artj but his greateft 
 improvement was confefledly derived from the inftrudtions he received from Nicolo 
 Pouflin, and ftudying the works of that mafter. 
 
 He acquired fo good a knowledge of defign, as qualified him for being employed in 
 feveral grand works, in the royal palaces at Paris and Trianon ; in many of the churches 
 and convents ; and in the hofpital of the Invalids, where he painted the twelve Apoftles, 
 each figure being fourteen feet high. He was efteemed to have had a ready invention, a 
 fruitful genius, a tafte for grandeur in his compofitions, correctnefs in his defign, and an 
 elegant manner in diftributing his draperies. In France his merit feems to be univerfally 
 allowed j yet fome able judges condemn his tafte of defign, as being too much loaded; 
 and his colouring, as having too predominant a tint of 'yellow in the carnations, by 
 which they lofe the look of nature ; though others aflert, that his beft works are free 
 from thofe imperfections. 
 
 It is obferved of this artift, that being deprived of the ufe of his right hand by a 
 paralytic diforder, he ever after painted with his left. 
 
[ 327 J 
 
 KAL 
 
 K. 
 
 Vanoer KABEL. Vid. CAB EL. 
 
 W I LLIAM KALE. 
 Painted Still Life* 
 
 DIED 1693, AGED 63. 
 
 He was born at Amfterdam, in 1630, and was a difciple of Hendrick Pot, who painted 
 portraits and hiftory. But, although he continued with that mafter for feveral years, and 
 employed his pencil on the fame fubjects, yet, when he quitted Pot, he changed his 
 manner totally, and only painted objects of ftill life, endeavouring to imitate nature with 
 the utmoft exactnefs. He fucceeded very happily in his compofitions of that kind, and 
 at laft arrived at a .great degree of perfection. He finifhed his pictures with a touch 
 that was remarkably neat; his colouring was true nature, and had an uncommon 
 tranfparence. His ufual fubjects were vafes of gold, filver, or cryftal, gems, glafTes, 
 and agates, which he copied delicately after nature ; and gave them an extraordinary 
 luftre, as well as an agreeable effect, by a proper distribution of his lights and fhadows,. 
 
 Bar en t Van KALRAAT. 
 
 Painted Landfcapes and Cattle. 
 
 DIED 1721, AGED 71. 
 
 This artift was born at Dort, in 1650, and learned defign from his brother Abraham 
 Van Kalraat; but the art of painting he ftudied under Albert Kuyp, an admirable 
 painter, with whom he was placed as a difciple. 
 
 At firft he painted in the ftyle of his mafter entirely ; though afterwards, being either 
 diffident of his own abilities, or at leaft not flattering himfelf with a hope of furpafling, 
 or even equalling his mafter, he changed his manner, and ever after painted views of the 
 Rhine, in the ftyle of Herman Sachtleven. His frequent walks along the borders of that 
 river, infpired him with a defire to copy that beautiful variety of villages, falls of 
 water, rocks, hills, and trees, which the windings of it perpetually offer to the view ; 
 and although he could not be accounted equal to Sachtleven, yet he approached very near 
 to the merit of that painter. Some of his pictures are excellently and highly finifhed ; 
 and his landfcapes are adorned with figures and animals well defigned, delicately penciled 5 
 and pleafingly coloured. 
 
 Sometimes he reprefented^ in his pictures, figures going abroad with dogs, to hunt or 
 to hawk, travellers at the doors of inns, and fuch-like fubjects, which are always neatly 
 handled, and very tranfparently coloured. 
 
 Uu Jacoe 
 
K A M- 
 
 C 3^3 y 
 
 KAY 
 
 Jacob Van K AM P E N.- 
 Painted Hi/lory. 
 
 He was born at Haerlem, in 1658, was ftyled Lord of Rambroeck ; and by fume - 
 authors he is called a. difciple. of John Van Bronkhorft. His manner of painting indifpu- 
 tably very much refembled that of Bronkhorft and John Bylaert; fo that the particular 
 merits which are afcribed to thofe mafters, may with equal juftice and propriety be 
 afcribed to him. He travelled to Rome, and- through the greatefl part of Italy, 
 forming , his- tafte of defign and colouring after. the works of the moft eminent artifts ; 
 and received many public marks of approbation for his performances. Thofe hiftorical 
 fubje&s which he painted, , were compofed with figures as large as life, well defigned, 
 and well handled, and they had.a tone of colour that appeared lively and natural. 
 
 His genius for architecture was excellent; and the plans of fome of the moft elegant 
 public buildings and palaces in Holland were of his defign, as he was efteemed the 
 beft architect of the Low Countries. • 
 
 KAMPHUY.SEN. Vid. Cam hit y sen.. 
 
 William KAY, or KEY, 
 Painted Portraits and Hijlory* 
 
 DIED I568, AGED 48.- 
 
 This painter was born at Breda, in 1520, and became a difciple of Lambert Lombard I 
 at Liege, at the time when Francis Floris ftudied in that fchool. As he was remarkably 
 induftrious in pra&ifing the rules prefcribed by his mafter, in a few years he was 
 diftinguifhed as an exceeding good artifts His portraits are accounted very little inferior 
 to thofe of Antonio More ; for his works are carefully finifhed, and they were prized 
 for the fweetnefs and delicacy of his penciling, as well as for their clear and natural 
 colour. His compofitions in the hiftorical ftyle, fliew fkill and judgment ; and although 
 it cannot be affirmed that he had as much fire as Francis Floris, yet are his paintings 
 well efteemed, and often afford confiderable prices. 
 
 His reputation was fo eftablifhed at Antwerp, that the Duke of Alva fat to him for 
 his portrait; but whilft he worked on the picture, the Judge-criminal and other officers 
 waited on the Duke to receive his determinate orders, in regard to the Counts Egmont 
 and Hoorn. The Duke, with a terrible aufterity of countenance, ordered their imme- 
 diate execution; and Kay, who underftood the language in which they converfed, and alfo 
 loved, the nobility of his country, was fo violently affected by the piercing look and 
 peremptory command of Alva, that he went home, fell lick, and died, through the terror 
 imprefled upon his mind by the tranfa&ion. Some authors, (and Sandrart in particular) 
 to render that incident more furprifing, or perhaps with ftrift adherence to truth, affert,, 
 5 that 
 
K E R 
 
 C 3^9 1 
 
 K E S 
 
 ' that he died on the fame day thofe noblemen were executed ; others affirm, that he died a 
 few days before; and others atteft, that he was ftruck with fuch terror only by looking 
 at the enraged and fiery vifage of the Duke, that he died immediately. 
 
 One of this mailer's mod capital performances is the portrait of Cardinal Granville in 
 his robes, which is very highly commended ; and another was, a large defign, in which he 
 had introduced the portraits of the principal magiftrates of the city of Antwerp, at full 
 length, and as large as life. It was placed in the town-hall : but it happened to be 
 deftroyed, when that building was burnt down in 1576. 
 
 J O SEP H V A N D EN KERCKHO V E, 
 
 ■Painted Hijlory. 
 
 DIED I724, AGED 55. 
 
 "He was born at Bruges, in 1669, and was a difciple of Erafmus Qttellinus the elder s 
 in whofe fchool he fhewed himfelf ftudious and diligent; and his proficiency was propor- 
 tionable to his induftry. When he began to practife in his profeifion, he went early to 
 France, where he found encouragement; and in a few years returned to his own country 
 with a good reputation, and always painted in the ftyle of his mafter. 
 
 His colouring is warm, and his defign correct ; his compofition is generally in the 
 grand tafte, and he introduced nothing but what feemed neceffary toembellifti his fubjedh 
 He had thoroughly ftudied the principles of perfpective; and, by his being expert in that 
 branch of his art, the back-grounds of his pictures are enriched with architecture in a 
 good tafte. 
 
 On the ceiling of the town-hall at Oftend he painted a verv fine defign, reprefenting 
 .the Council of the Gods, in which there is an ingenious and learned difpofition of the 
 figures, and alfo a mafterly execution. 
 
 John Van KESSEL. 
 Tainted Flowers, Portraits, Birds, Infefts, and Reptiles. 
 
 DIED I708, AGED 82. 
 
 He was born at Antwerp, in 1626, and became exceedingly famous for painting thofe 
 ^particular objects which he delighted to reprefent ; and not only excelled in fruits and 
 flowers, but was likewife eminent for painting portraits. In his manner he refembled 
 Velvet Brueghel, and very near equalled him in his birds, plants, and flowers. He ftudied 
 entirely after nature, and faithfully imitated all the true beauties which nature prefented 
 to his obfervation ; he defigned with exceeding correctnefs, had a complete knowledge of 
 •colour, and finiflied his pictures with tafte, elegance, and extreme neatnefs. 
 
 U u 2 The 
 
K E S 
 
 [ 33° J 
 
 K E S 
 
 The prodigious high prices for which he fold his works, occafioned the rich alone 
 to be the purchafers ; and the King of Spain admired the performances of Van KefTel to* 
 fuch a degree, that he purchafed as many of them as he could poftibly procure, till at laft* 
 he prevailed on that artift to vilithis Court, where he was appointed painter to the Queen, 
 and was retained in her fervice as long as fhe lived. 
 
 He painted portraits admirably, with a light, free touch, and a tone of colour that very 
 HHich- refembled Vandyck; nor are his works in that ftyle confidered, in Spain, as inferior 
 to that great mafter, either in refpedt to the refemblancq, the look, full of life, the 
 gracefulnefs of the attitudes, or the relief of his figures. 
 
 It was conftantly the cuftpm of Van KefTel to make fketches after nature, and ftudies, 
 at the different feafons of- the year, when his objects were in the raoft complete bloom 
 and beauty; fome of thofe objects he only defigned ; of fome, he coloured the defigns, 
 and others he modelled ; fo that the materials were ready for any work he intended to 
 undertake; and, as he poffeffed a large collection of them, he could always have recourfe 
 to thofe ftudies, when he could not pofribly have nature to imitate. 
 
 Ferdinand Van K E S S E L. 
 Painted Fruits, Flowers, Plants, and Animals. 
 
 He was the fon of John Van KefTel, born at Breda in 1660, and with great care 
 inftrudted in the profeflion of painting by his father, whofe ftyle and manner he ever 
 afterwards followed. Some of his works happening to be obferved by John Sobiefki, 
 King of Poland, he received fo great a degree of pleafure in viewing them, that he 
 invited Van KefTel to his court, and ordered a particular cabinet to.be built at his palace, 
 which was to be entirely ornamented with the works of that mafter. 
 
 The firft fubjedts he defigned were the four elements, which he painted on copper. 
 Air, he reprefented by a boy fupported on the wings of an eagle, furrounded by a 
 multitude of birds of all kinds. Earth, was defcribed by a boy on the back of a lion; 
 and the ground was diverfified with a variety of plants,, fruits, and flowers. Fire, was 
 reprefented by a boy furveying fire-arms, helmets, and corfelets, richly gilded and 
 engraved; with groups of drums, enfigns, and other implements of war: and Water, 
 by a boy fupported on a couch at the edge of the fea ; the adjoining fhore being ftrewed 
 with corals, (hells, and petrifactions, with a number of fifhes of various kinds, excellently 
 imitated after nature, and well grouped. Thofe fubjedts he was enabled to paint readily, 
 and with fingular exadtnefs, as he pofTefTed the defigns, ftudies, fketches, and models, on 
 which his father had fpent fo much labour and fkill ; and by thofe he was qualified tp 
 paint every object with beauty and truth. But, after abundance of pains and care had 
 •been exerted in finifhing thofe delicate paintings in Poland, they were totally confumed 
 by a fire, which deftroyed the greateft part of the building. He was employed by the 
 fame Monarch to paint thofe fubjedts a fecond time, for which he was gratified to the 
 
 utmoft 
 
KE S 
 
 [ 33i 1 
 
 RES 
 
 utmoft of his expectations ; and received many rich prefents from the hand of Sobiefki, 
 together with a patent which enobled him and all his defcendants. 
 
 He was not, howevever, equal to his father in merit ; yet he approached much nearer 
 to the excellence of that eminent artift, in penciling and colouring, than any other painter 
 of his time. He deligned landscapes in an agreeable ftyle, and every plant, fruit, flower, 
 or animal, which he introduced was well coloured and well fini fried. As he was not very 
 capable of defigning figures in his landfcapes, they were ufually inferted by Eykens, 
 Maas, Van Opftal and Bifet; and in return he painted, in their compofitions, all thofe 
 objects in which he particularly excelled. 
 
 At Dufleldorp, in the collection of the Elector Palatine, there are four pictures of this 
 mailer's hand, reprefenting the four parts of the world, in which the plants, animals, 
 trees, and flowers, peculiar to each climate, are delicately painted. 
 
 N. Van KE S SEL 
 
 Painted Converfations. 
 
 This artift was the nephew of Ferdinand Van Keflel, born a't Antwerp, in 1684,^ 
 and probably he would not have been inferior to the molt diftinguiihed painters of his 
 own name or nation, if he had not given himfelf up to an intemperate and diflolute 
 courfe of life. If a judgment might be formed of his genius and power, by fome of his 
 performances which he painted in the ftyle of Teniers, it appeared not unlikely that he 
 would have equalled even that favourite painter, if his application had been proportioned 
 to his abilities. 
 
 He defigned after nature with great readinefs, and gave humour, life, and a ftrong 
 character to. every figure; fo that he never wanted purchafers, but received whatever he 
 demanded for his productions ; and he was fo eagerly folicited for his pictures, that he 
 could not allow himfelf time to execute a fufficient number. His fubjects were boors, 
 their converfations, feafts and merry-makings, juft as he had obferved the prevalent 
 manners, cuftoms, and amufements among the peafants of his own country. His works 
 produced large fums of money; and if he had been lefs profufe and more afiiduous, he 
 might have had 1 as great a (hare of riches and reputation as any of his profefilon > for he 
 defigned his figures with admirable freedom and readinefs in the tafte of Le Fage ; and, 
 through all his compofitions, there appears every where great fpirit and a furprifing 
 character of nature. 
 
 Though he inherited an immenfe fortune, by the death of his uncle Ferdinand, his 
 extravagance diverted him of it in a mort time, and he was reduced to mifery. In the 
 latter part of his life he quitted the manner of Teniers, and painted portraits, hut with 
 no fuccefs, for they rather rendered him contemptible ; fo that he is only memorable for 
 his firft works, which have real merit in the deiign, and for the colouring are juftly. 
 commendable. 
 
 Corneliu; 
 
K E T 
 
 C 33* ] 
 
 K E T 
 
 Cornelius KETEL. 
 . Painted Portrait^ IIi/iory } and Archlteclure, 
 
 DIED l602, AGED 54. 
 
 He was born at Gouda, in. 1548) and received his firft inftruction from his uncle, -who 
 
 , was a tolerable painter ; yet he took more care to form the mind of his nephew by the 
 knowledge of polite literature, than to form his hand to the pencil. Afterwards Cornelius 
 was placed as a difciple with Anthony Blockland at Delft; with whom he continued long 
 enough to qualify him for appearing with credit in his profeflion, though he ftudied under 
 
 . his direction only one year. 
 
 When he quitted Blockland, he. travelled to Paris, and was employed in painting fome 
 
 .. compofitions at the palace of Fontainbleau, aflociated with Jerom Frank, Francis de 
 Mayer, and Denis d'Utrecht, his countrymen, who were furprifed to fee the proficiency 
 of Ketel. But thofe works being difcontinued, and the troubles in Holland ftill fubfifting, 
 he was induced to vifit ..England; and there found confiderable advantage by painting 
 portraits, though his genius principally directed him to hiftorical fubjects. Many of the 
 firft Nobility fat to him; and, by their recommendation, he had the honour to paint the 
 portrait of Queen Elizabeth. Several of his pictures were at full length, well drawn- 
 and with a good exprefiion. 
 
 In the year 1581 he retired to Amfterdam, where he painted a Jarge picSbcre of the 
 principal officers and their attendants, among which he introduced his own. The dif- 
 pofition of the figures, as alfo the refemblance of the perfons, were remarkably good ; 
 and the different fluffs of the habits were admirably imitated, and much admired. Sandrart 
 fays, he vifited Venice and Rome, when he had fpent fome years at Amfterdam, and 
 
 . that he died in the latter city (where he was highly efteemed) while he was employed 
 in painting the portrait of the King of Denmark. 
 
 Although the reputation he had acquired by his portraits and hiftorical defigns might 
 have contented this artift, yet he conceived a fcheme to diftinguifh himfelf by a method 
 of working different from all others; and undertook (through a whimfical kind of 
 vanity) to paint with the ends of his fingers, inftead of brufhes. He tried the experiment 
 on his own portrait, and fucceeded fo well, that he afterwards painted feveral others in the 
 fame manner, which (whatever real merit they might have) were applauded at that time, 
 for their force and ftrong expreflion, as well as for the clearnefs and beauty of their 
 colouring. It is alfo reported, that he worked with the fingers, of his left hand, as readily 
 as with thofe of his right. Two fubjects of thofe pictures which he painted only with 
 the points of his fingers, were Democritus and Heraclitus : the former was his own 
 portrait, and was purchafed by the. Duke de Nemours at a large price; the latter was a 
 
 ..portrait of Sig. Morofini, a Venetian, who had naturally a folemn and triftful countenance. 
 When he was afked why he attempted to paint without pencils, he anfwered, it was only 
 ... . tto 
 
[ 333 3 
 
 K I C 
 
 t<J ftiew that genius can never want tools to work with j but he had a greater number of 
 admirers than of imitators in that way. 
 
 Moll of his pictures were ftrongly coloured, with a full pencil ; and his figures were, 
 for the moil part, as large as life, if not larger. However, though he had much merit 
 in feveral parts of his art, yet it muft be allowed that he wanted extremely a more 
 elegant tafte of defign. A good whole-length portrait of Sir Chriftopher Hatton, by this 
 mafter, is in the poffellion of the Earl of Litchfield, at Ditchley. 
 
 Janssen, or Jan son Van KEULENr- 
 Painted Portrait, 
 
 DIED 1665/ 
 
 This painter was born in London, of Dutch parents; and before Vandyck went to 
 England, he was employed by King Charles I. who held his paintings in great efteem ; 
 and the favour of that Monarch procured him the opportunity of painting the portraits 
 of the principal Nobility. 
 
 It was obferved, that although Vandyck was fuperior to him by very many degrees, 
 and Was alfo particularly engaged in painting the fame fubjects, yet he and Van Keulen 
 lived together in the mofl: fincere amity. Houbraken writes, that Vandyck having one 
 day vifited Van Keulen, obferved him to look dejected and melancholy; and enquiring the 
 caufe of his uneafinefs, that painter candidly told him he had been exceedingly mortified 
 by a lady, whofe portrait he was painting, and whofe capricious humour rendered her 
 incapable of being pleafed. But Vandyck fmiling, deiired him not to be affected by fuch 
 treatment, which was generally the refult both of vanity and folly, nor to fret himfelf 
 at the teazing ignorance of -his employers ; for he himfelf had often experienced the fame 
 mortifying behaviour from ladies who fat to him, and reaped one great advantage by it, 
 which was, that it taught him the art of patience, though it did not improve him in the art 
 of painting. . 
 
 Cornelius KICK. 
 
 Painted Portraits, Flowers, and Still Life> ■ 
 
 DIED 1675, AGED 40. 
 
 He was born at Amfterdam, in 1635 ; and, according to Houbraken, learned defign and 
 colouring from his father, who was a portrait-painter of good reputation, though Weyer- 
 man fays his father was a ftatuary. He became very eminent for painting portraits, as 
 the likenefs was remarkably ftrong, and as he finiftied them very highly; but when he 
 obferved how great a demand there was at that time for fubjects of ftill-life, particularly 
 fruits and flowers, and faw the works of De Heem in prodigious requeft, he directed 
 his whole ftudy to that ftyle of painting, and fucceeded fo well, that he defifted from 
 
 portraits. 
 
K I E 
 
 C 334 ] 
 
 KLO 
 
 portraits, and devoted his pencil ever after to the painting of fruit and flowers.,; which 
 pictures role into high efteem, and fold for confiderable prices. As he accuftomed himfelf 
 always to paint after nature, he was fo curious that he filled particular beds in his garden 
 with the choiceft flowers that could poflibly be procured ; and planted fruit-trees of the 
 mod valuable kinds, that he might have the moft beautiful models in his own power. 
 
 His manner of painting was light and delicate, his touch tender, and his colouring 
 brilliant, mewing all the freflinefs of nature; and thofe flowers which were his favourite 
 fubjects, and painted with the greateft excellence, were tulips and hyacinths. 
 
 Alexander KIERINGS, or KIERINCX. 
 
 Painted Landfcape. 
 
 DIED 1646, AGED 56. 
 
 He is fuppofed to have been born at Utrecht, in 1590, and is very defervedly accounted 
 a landfcape-painter of great eminence. He finiftied his pictures in a manner that was 
 peculiarly neat ; yet he was never capable of defigning figures with any tolerable degree 
 -of elegance. For which reafon, he procured Poelemburgh to infert the figures in moft 
 of his pictures, which added not only to their beauty, but to their value. 
 
 His views, and every particular object, were copied from nature, and he finiftied them 
 Avith amazing patience ; even the bark, and the fibres of the trees, being diftinctly 
 marked ; and he had fo peculiar a manner of touching the leaves, that every fpecies might 
 be readily diftinguifhed. 
 
 David KLOCKER of Ehrenstrahl, or Klockner. 
 
 Painted Portrait and Hi/lory. 
 
 DIED 1698, AGED 69. 
 
 He was born at Hamburgh, in 1629, and learned the art of painting from George 
 Jacob, a Dutch mafter, well efteemed for painting animals and huntings. His firft 
 attempts were in portraits ; but being invited to the Court of Sweden, he found the King 
 defirous to have fome grand hiftorical fubjects painted in his palace; and, in order to 
 qualify himfelf for fuch an undertaking, he went to ftudy at Venice, and acquired there 
 a bold and ftrong tint of colouring; but from thence he travelled to Rome, and ftudied 
 there for five years, to improve himfelf in defign and elegance of tafte. 
 
 At his return to Sweden, he was received with great refpect; had an honourable 
 appointment; was immediately employed at the palace; and his works were beheld with 
 a degree of applaufe, equal to his warmeft wifhes. He painted the portraits of the Royal 
 Family, as alfo the greateft part of the Nobility of that kingdom; and finiftied many 
 hiftorical and poetical fubjects : but very few of the paintings of this mafter are to ften 
 
 out 
 
KNE 
 
 C 335 J 
 
 KNE 
 
 out of that country. He had great freedom of hand, and great propriety in his characters. 
 In his compofitions he was fond of introducing a number of figures, and his defigns were 
 adorned with agreeable landfcapes, as likewife with elegant pieces of architecture, which 
 he had copied from the veftiges of the antique buildings about Rome; and he adapted 
 them to his own fubjedts, with extraordinary judgment. His colouring was excellent, 
 efpecially in the naked, and his drawing was very correct. 
 
 Sir Godfrey KNELLER. 
 Painted Hijiory and Portrait. 
 
 DIED I726, AGED 78. 
 
 This artift, whofe fame is well eftablifhed in thefe kingdoms, was born at Lubeck, 
 in the duchy of Holftein, in 1648, and received his firft inftruction in the fchool of 
 Rembrandt ; but he afterwards became a difciple of Ferdinand Bol, under whofe direction 
 he continued for a confiderable time. 
 
 When he had gained as much knowledge in his profeflion, as that fchool could afford 
 him, he travelled to Rome, in order to ftudy the antiques, and the works of the cele- 
 brated artifts; and fixed his particular attention on the Caracci and Titian. Their 
 paintings he diligently copied, endeavouring to derive from the former, correctnefs of 
 defign, and from the latter, the harmony of colouring ; but efpecially to gain from the 
 Caracci the art and habit of difpofing the heads of his figures, with a natural and becoming 
 elegance. He was extremely affiduous, and had the happinefs of being directed in his 
 purfuit of improvement, by the precepts and advice of Carlo Maratti ; who was not only 
 the beft painter of his time, but the ableft inftructor of others. He likewife vifited 
 Venice, and diftinguifhed himfelf fo effectually in that city, by feveral portraits of the 
 noble families, as alfo by fome hiftorical pictures, that his reputation became confiderable 
 in Italy. 
 
 Thus qualified to appear with advantage in his profeffion, he left Rome and Venice; 
 and after fome time fpent at Hamburgh, with extraordinary fuccefs, he went to London, 
 where he knew the polite arts readily find protectors and patrons. It was a circumftance 
 of good fortune to Kneller, that he gained the favour of the Duke of Monmouth, by 
 whom his merit was made known to the Court; and he had not only the honour of 
 painting the portrait of King Charles II. feveral times, but that Monarch condefcended 
 to fit for his picture, at the houfe of Sir Godfrey in Covent-Garden. 
 
 The death of Sir Peter Lely left him without a competitor in England ; and from that 
 period his fortune and his fame were thoroughly eftablifhed. No painter could have more 
 incefiant employment, no painter could be diftinguifhed by more public marks of honour. 
 He was ftate-painter to Charles II. James II. William III. Queen Anne, and George I. 
 equally refpected and efteemed by them all. By the Emperor Leopold he was dignified 
 with the title of Knight of the Holy Roman Empire ; the patent which conferred 
 
 X x that 
 
K N I 
 
 r 336 j 
 
 K N U 
 
 that honour, being accompanied with a chain of gold, and a medal, on which the head of 
 his benefactor was impreffed. His own portrait was requefted by the Grand Duke of 
 Tufcany, which is ftill to be feen, placed among thofe illuftrious artifts which adorn the 
 famous Florentine gallery; and he had the peculiar happinefs of having- his works immor- 
 talized by the beft poets of his time, efpecially by Addifon, who alfo immortalized 
 himfelf by the verfes he wrote to Kneller. 
 
 He poffefled a great deal of the freedom and nature obfervable in the works of Vandyck; 
 his colouring is lively, true, and full of harmony ; he drew extremely correct, and was very 
 exa£l in his outline; he difpofed his figures with great judgment; and his attitudes have 
 eafe and dignity. The airs of his heatjs are generally graceful, and the hair difpofed with 
 a natural and becoming flow; but particularly the female portraits have a pleafing 
 fimplicity, a modefty mixed with elegance, that renders them engaging and amiable. * 
 However, it muft be confefied, that there appears too great a famenefs in his airs, too 
 great a fimilarity in the countenances, and no great fire of imagination in his compofitions. 
 It is remarked of Kneller, that of all his performances, he feemed to be moft vain of the 
 portrait of the converted Chinefe, at Windfor. 
 
 N. KNIPBERGEN, or Kniberg, 
 
 Painted Land/cape. 
 
 He was a Dutch matter of eminent rank for painting landfcapes, who entirely imitated 
 the ftyle and manner of Paul Bril. He ftudied after nature, but principally (ketched the 
 fcenes which he intended for his future fubjects, among the mountainous parts of Ger- 
 many and Switzerland. 
 
 He had an uncommon freedom of hand, and a fine pencil ; and it feemed aftonifliing 
 to confider the expeditious manner in which he painted the trees, ikies, mountains, 
 cafcades, and every figure that he introduced in his compofitions; and at the fame time 
 to obferve, that notwithftanding his quicknefs in working, every object appeared well 
 finifhed, and touched with fpirit. He wanted elegance in the choice of his fubjects, and 
 alfo in the forms and attitudes of his figures; his distances are frequently not weil thrown 
 off", and fometimes his back-grounds appear too encumbered; but the leafing of his trees 
 is loofe, free, and competently bright, though in general fomewhat too green ; as are alio 
 very often his grounds and his hills. The clouds in his pictures are remarkably light and 
 floating, and his fore-grounds are well broken, and agreeably diverfified. 
 
 Nicholas KNUPFER. 
 
 Painted Battles and Conversations* 
 
 DIED l660, AGED 57. 
 
 He was born at Leipfick, in 1603, and at firft was inftructed by Emanuel Nyfens, a 
 painter of no great note in that city, with whom he fpent two years } but being treated 
 
 2 improperly 
 
KOC 
 
 C 337 ] 
 
 KOE 
 
 improperly and unkindly by that artift, he quitted him, and went to Utrecht, to procure 
 inftruction from Abraham Bloemart. That mafter foon obferved the, genius and capacity 
 of his pupil with Angular fatisfaction ; and having accommodated him in his own houfe, 
 took fo much pains to acquaint him with the beft principles of his, art, that Knupfer 
 advanced fuccefsfully in the knowledge of colouring and defign, and became a confiderable 
 artift. 
 
 The King of Denmark employed him to paint three pictures of battles, reprefenting 
 the victories of fome of his heroic anceftors j which fubjects he executed to the entire 
 fatisfaction of the King, and he gained the approbation alfo of the ableft judges at that 
 Court. The figures in all his fubjects were but of a fmall fize, but they were correct, 
 and defigned with a great deal of nature and truth. 
 
 Weyermans defcribes a picture which he faw at the Hague, painted by Knupfer, that 
 was equally admired for the defign and expreflion. The fubject is a fhepherdefs wearing 
 a garland of flowers, and conducted by a fhepherd; and that writer obferves, that there 
 is an expreflion of refpect in the countenance of the fhepherd, which is as {hiking and 
 affecting, as the modefty and decency that are vifible in hers. 
 
 Matthias or Matthew KOCK. 
 Painted Landfcape. 
 
 DIED 1554, AGED 54. 
 
 He was born at Antwerp, about the year 1500, and efteemed a very excellent painter 
 of landfcapes, being one of thofe memorabfe artifts who contributed to the refinement of 
 the Flemifh tafte, by introducing that of Italy. He ftudied and imitated nature; he 
 (hewed an agreeable variety in his compolitions i and painted with equal merit in oil and 
 in diftemper. 
 
 Wenceslaus KOEBERGER. 
 Painted Hijiory. 
 
 DIED 1604, AGED 70. 
 
 He was born at Antwerp, in 1534, and was a difciple of Martin de Vos ; who exerted 
 the utmoft of his fkill for the improvement of his pupil, as foon as he had an opportunity 
 of obferving the promptnefs of his genius. He continued under the direction' of that 
 mafter for feveral years, and made a proportionable progrefs ; but happening to fall in 
 love with a daughter of De Vos, and finding it importable to obtain a fuitable return, 
 though he had taken every obliging method to obtain it, he determined on a journey to 
 Rome, to cure himfelf of his unprofitable paflion, and by that means fhook it off 
 effectually. 
 
 He ftudied at Rome for fome time, and afterwards removed to Naples ; where an 
 intimate friendship commenced between him and a Flemifh painter called Franco, whofe 
 
 X x 2 daughter 
 
KOE 
 
 [ 338 ] 
 
 KOE 
 
 daughter was efteemed one of the mod beautiful woman at Naples. Koeberger felt the 
 fame fondnefs for her, as he had formerly experienced for the other ; but in this affair he 
 fucceeded, being equally beloved by the father and the daughter. In Italy he purfued his 
 ftudies with unwearied application; and the merit of his paintings fecured to him a general 
 efteem, and conftant employment. His reputation extended to his own country, whither 
 he was earneftly folicited to return; but he was too much pleafed with his fituation, to 
 be induced by any perfuafions to quit Naples at that time; though, in fome years after, 
 he fettled at Bruflels. On his arrival at Antwerp, Duke Albert appointed him his 
 principal painter, and regarded him highly, not only for his merit in painting, but for 
 his extenfive knowledge in medals. 
 
 In the church of Notre Dame, at Antwerp, there is a compofition by Koeberger, 
 reprefenting the martyrdom of St. Sebaftian, which was originally painted for the con- 
 fraternity of that faint. It is always beheld with furprife and pleafure by every lover of 
 the art, and every intelligent connoifleur. The colouring in that work is extremely 
 fine, the defign excellent, the difpofition judicious, the tafte elegant, and the appearance 
 of the whole together is admirable. In a fhort time after that picture was fixed in its 
 place, fome envious perfons, who were mortified at the applaufes which the public 
 liberally beftowed on the artift, cut out two of the heads to deface the work, and efcaped 
 undifcovered ; fo that the pofTeflbrs were conftrained to fend it to Naples, where Koeberger 
 then refided, in order to have the damage repaired ; yet, notwithftanding his ability and 
 induftry, the inferted heads were not fo happily executed, as they had been in the firft 
 performance. 
 
 He afforded many proofs of his being as eminent an architect, as he was a painter; 
 and, on account of his allowed fkill in that art, he was appointed by the Arch-Duke 
 fuperintendant of the buildings and decorations at the caftle of Trevure, near Bruflels. 
 
 Isaac KOENE, 
 
 Painted Land/cape and Water-Milts. 
 
 The birth and age of this mafter are not recorded; nor is there any other account of 
 him from the different writers on this fubjeft, than that he was a difciple of Jacob 
 Ruyfdal, and painted landfcapes in the manner of his mafter. As he was not capable of 
 defigning figures, he affociated with Barent Gaal, who always painted them for him ; 
 and the profit of their joint labours was always equally divided between them. 
 
 Joanna KOERTEN BLOCK. 
 Painted Birds and Flowers in Water-Colours* 
 
 DIED I715, AGED 65. 
 
 This paintrefs, who was the wife of Adrian Block, was born at Amfterdam, in 1630, 
 and from her youth fliewed a ftrong inclination to drawing, painting, and embroidery, 
 
 and 
 
KOE 
 
 C 339 ] 
 
 KOE 
 
 and arrived at an aftonifhing excellence in all. But fhe principally employed herfelf in 
 cutting on paper the reprefentation of landfcapes, birds, fruits, and flowers, which (he 
 executed with incredible exactnefs and delicacy, fo as to amaze every beholder. The lines 
 with which fhe expreifed her object?, were as exquifitely nice as the lines of engraving; 
 and yet fhe performed it with fciflars only. Nor was fhe confined to any fubjects, for 
 all kinds were to her equally eafy and familiar. Sea-pieces, animals, architecture, and 
 ftill life, were perhaps her favourite fubjects ; but fhe alfo cut portraits on paper, with as 
 ftriking a refemblance as if they had been painted in oil, by the hand of the ableft artifls. 
 
 She was accounted fo great a prodigy in her way, that fhe was vifited by the Nobility of 
 the firft rank of all nations, who travelled through Amfterdam ; and was particularly 
 honoured by the Czar Peter I. who condefcended to pay her a vifit in her own houfe. The 
 Elector Palatine offered her for three fmall pictures of her cutting, a thoufand florins ; 
 yet fhe refufed even fo large a price for them. At the requeft of the Emprefs of Germany, 
 fhe defigned a trophy with the arms of the Empire, ornamented with laurel crowns, garlands 
 of flowers, and other, enrichments fuitable to the fubject; which fhe executed with fuch 
 correctnefs of drawing and defign, fuch wonderful tendernefs and beauty, as is not to be 
 defcribed, and fcarcely to be credited. For that exquifite performance, fhe received 
 a prefent from the Emprefs of four thoufand florins. She alfo cut the portrait of the 
 Emperor, which is hung up in the Imperial cabinet at Vienna, and efteemed not the leaf! 
 curiofity in that collection of rarities. 
 
 RoelofKOETS. 
 Painted Portrait. 
 
 DIED I725, AGED 70. 
 
 He was born at Zwoll, in 1655, the fon of a painter, who taught him the firft prin- 
 ciples of defign; but afterwards he was placed as a difciple with Gerard Terburg, where 
 his progrefs was fo rapid, that he foon furpaffed all his companions. His mafter gave 
 him fo many marks of his approbation and efteem, was fo profufe in his praife, and fo 
 ftrongly expreffed the preference which he thought the abilities of Koets merited, that it 
 excited the envy and jealoufy of all the other difciples, who determined to punifh Koets, 
 for the imagined infuits of their mafter : fo that Terburg found it neceffary to advife 
 him to leave his fchool, and directed him only to ftudy nature for the future; which 
 direction he punctually obfcrved. 
 
 At his firft fetting out in his profeffion, he had the good fortune to fucceed in painting 
 the portrait of the Count Dalwigh, which laid the foundation of his future advancement; 
 for, through the recommendation of that nobleman, he was made known to Henry Cafimir, 
 Stadtholder of Frizeland, who received him into his favour, and conceived an uncommon 
 friendfhip for him ; and as foon as that Prince had fat to him for his own portrait, his 
 example was followed by all the Nobility of his Court. 
 
 His reputation, as an accomplifhed artift, was fo thoroughly afterwards eftablifhed, 
 that he had the honour to paint the portraits of King William III. the Duke of Portland 
 
 and 
 
KON 
 
 I 340 3 
 
 KON 
 
 and his family, and moft of the Englifh and German Nobility who attended that Monarch 
 at Loo. An extraordinary circumftance relative to this mafter is attefted as a fact; that 
 he painted five thoufand portraits with his own hand, and all of them were well finifhed, 
 without any afliftance from other artifts; on which account he is mentioned as one of the 
 moft laborious painters of his time. 
 
 He had great freedom and readinefs of hand, an agreeable choice of attitudes, and a 
 good manner of defigning. He was always ftrictly attentive to nature, in all his perfor- 
 mances ; nor did he want the (kill to improve or to embellifh nature on proper occafions, 
 whenever he imagined it might conduce to the perfection of his work. 
 
 David de KONINCK, or KONING. 
 
 Painted Animals, Birds, Fruit, and Flowers. 
 
 DIED 1687. 
 
 This artift was born at Antwerp, and at firft inftructed by Nicafius ; though fome 
 authors fay, he was afterwards a difciple of Peter Bol ; but, according to thofe writers who 
 appear to be moft authentic, he was the difciple of John Fytt. He continued with that 
 mafter for feveral years, and painted fo exactly in his ftyle, that at laft he excited his 
 jealoufy; for Fytt obferved, with fome degree of mortification, that the works of his 
 difciple were taken for his own, and brought equal prices at the public fales. 
 
 De Koninck therefore quitted his mafter, and, in purfuit of improvement, travelled 
 through France and Germany, to Italy, where he arrived in 1668, being much employed 
 wherever he went; and he was received at Rome in a manner worthy of his merit. He 
 lived for a few years in that city, always very afliduous, and likewife very retired. His 
 works refemble thofe of Fytt, and his fubjects are the fame; his touch is free and firm; 
 his colouring ftrong, and like nature; and he particularly excelled in birds. He was 
 conftantly a competitor with Fytt; but, by the beft connoifleurs, he was generally not 
 allowed to have the preference; for in his pictures there appeared fomewhat that was 
 lefs free, and lefs mafterly, as alfo apparently more laboured than thofe of his mafter, 
 when their paintings were compared with each other; though otherwife, he was always 
 juftly efteemed a great artift. 
 
 A capital picture of De Koninck is preferved in the cabinet of Prince Charles at Bruflels; 
 reprefenting dead and live fowls, together with fome objects of ftill life. 
 
 Philip de KONINGH. 
 
 Painted Portrait and Hi/lory. 
 
 DIED 1689, AGED 70. 
 
 He was born at Amfterdam, in 1619; was bred up to the profeflion of painting in the 
 fchool of Rembrandt; and added an honour to that academy, by the merit of his performances. 
 For many years he fupported the reputation which in the early part of his life he had 
 
 defervedly 
 
KON 
 
 [ 341 ] 
 
 KOO 
 
 defervedly acquired, and was efteemed an excellent painter of portraits. His compofitions 
 were remarkable for the great character of nature which appeared in them all, for the 
 choice and variety of his attitudes, and alfo for the extraordinary refemblance of thofe 
 perfons who fat to him for their portraits. 
 
 The picture of himfelf, which he painted at the requeft of the Grand Duke ofTufcany, 
 and which is placed in the Florentine gallery, is a fufficient evidence of the merit of this 
 mafter. His colouring is clear, and his paintings have a lively and ftriking effect, 
 although they are not loaded with heavy fhadows, approaching to blacknefs; and in that 
 refpect he was accounted fuperior to his mafter Rembrandt, whole back figuies are 
 frequently impaired by the darknefs of the colouring. 
 
 Solomon KONINGH. 
 Painted Hi/lory and Portrait. 
 
 He was born at Amfterdam, in 1609, and learned the art of drawing from David Kolyn; 
 but he ftudied painting under Francis Vernando, and Nicholas Moojart, being fucceflively 
 the difciple of each of thofe mafters; and after fome years practice, with the afiiftance of 
 ftudying after nature, he rendered himfelf confiderable. Moft ufually he painted portraits, 
 though his genius prompted him to paint hiftory, with figures as large as life; and he alfo 
 painted hiftorical fubjects in fmall, with an equal degree of merit. 
 
 The pictures of this mafter, which are mentioned by the writers on this fubject, are, 
 David and Bathfheba, which was purchafed by the Portuguefe Ambaffador, and fent to the 
 King of Portugal ; Tarquin and Lucrece ; Judas in defpair, throwing down the filver for 
 which he had betrayed his Lord ; and Solomon's Idolatry. 
 
 Leonard Vander KOOGEN. 
 
 Painted Conversations. 
 
 DIED l68l, AGED 71. 
 
 This artift was born at Haerlem, in 1610, and was a difciple of Jaques Jordaens, at 
 Antwerp. His cotemporary in that fchool was Corneiius Bega; and that created fuch a 
 friendly intimacy between them, as induced them to ftudy together after nature, and to 
 become emulous to excel each other, which proved very advantageous to both. 
 
 Koogen defigned wellj his touch, his penciling, and his manner of colouring, refembled 
 Bega; but he painted in a very different iize, fome of his pictures having, the figures full 
 as large as life. As he poflefled an affluent fortune, and was not obliged to follow the 
 profeflion for a maintenance, he only painted for his own pleafure and amufement; for 
 which reafon the number of his works cannot be fuppofed to be very great, though they 
 are much coveted, and extremely admired, 
 
 Peter 
 
KOU 
 
 C 342 1 
 
 KOU 
 
 Peter KOUC, or Koeck. 
 
 Painted Portraits^ Hi/lory^ and Converfations, 
 
 DIED 1553, AGED 53" 
 
 He was born at Aelft, in 15005 and became a difciple of Bernard van Orlay, ofBruflels, 
 who inftructed him in the principles of colouring and defign ; but he accompliflied himfelf 
 at Rome, by ftudying the antiques, and fketching not only the views about that city, but 
 of other parts of Italy through which he travelled. By that method of conducing his 
 obfervations on the moft beautiful productions of art and nature, he acquired the habit of 
 defigning with correctnefs, of giving a good expreflion, as well as great eafe to the 
 attitudes of his figures, and eftabliftied himfelf in an excellent tafte and manner. 
 
 In a few years after his return to his own country, he happened to be engaged by fome 
 merchants to paint the defigns for a tapeftry manufacture, which they had agreed to 
 undertake at Constantinople, and was prevailed on to travel to Turkey. But, although 
 the project: failed of fuccefs, yet it afforded Kouc an opportunity of defigning the moft 
 pleafing profpects in the neighbourhood of that city; as alfo the proceffions, aflemblies, 
 fports, feafts, and converfations of the Turks, which he reprefented in an agreeable ftyle. 
 He copied his figures from nature, and their drefles were adapted to the mode of the time- 
 to their ftations and characters. The countenances of his female figures were very 
 engaging ; and his back-grounds in particular are managed with abundance of (kill. 
 Seven of thofe Turkifh defigns were afterwards engraved, and in one of them he intro- 
 duced his own portrait in the habit of a Turk. 
 
 When he came back to Holland, he fettled at Antwerp, and painted a great number of 
 portraits, altar-pieces, and cabinet-pictures; and was appointed principal painter to the 
 Emperor Charles V. He publiflied feveral volumes on the fubjects of architecture, 
 geometry, and perfpective ; and with a critical exactnefs tranflated the works of Sebaftian 
 Serli, out of the Italian into his native language. 
 
 Christian van KOUWENBURGH, or Kauwenburgh. 
 
 Painted Hijiory. 
 
 DIED 1667, AGED 63. 
 
 This painter was born at Delft, in 1604, and was the difciple of John Van Nes ; but 
 the tafte which he manifefted in his paintings was acquired in Italy, where he fo far 
 improved himfelf, by ftudying after the beft models, that in a great meafure he fhook off 
 his original Flemim gout. His fubjects were for the moft part hiftorical, with figures as 
 large as life ; and he particularly excelled in defigning the naked. His colouring was 
 exceedingly natural, his defign correct, and his compofition was in a beautiful and grand 
 ftyle. 
 
 Many fine pictures of this mafter's hand are in the palace of the Prince of Orange 
 at Ryfyvick, and the Houfe in the Wood, 
 
 Francis 
 
K R A 
 
 I 343 ] 
 
 K R A 
 
 Frakcis KRAUSE, 
 Painted Hi/lory. 
 
 DIED 1754, AGED 48. 
 
 He was born at Augfbourg, in 1706, where he lived in the loweft poverty; but his 
 appetite to the art of painting enabled him to furmount all difficulties that injurious 
 fortune had thrown in his way. A gentleman who was on his travels to Italy took him 
 along with him ; and, on his journey, having difcovered the genius of his attendant, on his 
 arrival at Venice, he placed him as a difciple with Piazetta. Under the direction of that 
 famous artift, Kraufe ftudied with indefatigable application night and day, and his 
 improvement was proportionably furprifing ; fo that, in fome time, even Piazetta was 
 deceived by his work, and miftook the paintings of his difciple for his own, as others alfo 
 had been deceived before by the fimilitude. 
 
 Having, in a few years, fufficiently perfected himfelf in his profeffion, he quitted 
 Venice, and, went to Paris ; an$j[ in order to make the public acquainted with his talents, 
 he prefented to the Academy a picture, reprefenting the death of Adonis. That compo- 
 lition might perhaps have fucceeded to his wifli, had not his own indifcreet vanity too 
 ftrongly appeared; for he overvalued his own works, fo as to believe them faultlefs, and 
 depreciated the works of others, without refpect or juftice; by which conduit he 
 difgufted that judicious body of artifts, who rejected his application. Meeting, therefore, 
 with fuch a repulfe as he very juftly deferved, he went to other cities of France, where 
 he found fulficient employment, particularly for the churches and convents ; and his mod: 
 capital performance is in the refectory of the Carthufians at Dijon, of which the fubject 
 is Mary Magdalen anointing the feet of Chrifl: in the houfe of the Pharifee. But, after 
 all his labours, finding himfelf in low circumftances, he undertook to paint portraits in 
 crayon, and performed it with extraordinary fuccefs; yet, either through bad economy, 
 or profufion, he never was thoroughly extricated from his difficulties. 
 
 Notwithstanding the vanity and felf-approbation of this painter, he poffeffed great 
 talents. His manner of defigning was good, and he was fingularly excellent in the 
 extremities of his figures; his genius was not abundant, but his colouring had force 
 and brilliancy ; his penciling had a great deal of freedom; and his touch was firm, though 
 not always equally fo ; for fometimes it appeared dry, yet at other times it was full of 
 fpirit. In fome of his pictures he has run into too great a degree of blacknefs, by 
 endeavouring to make his lights more lively and ftriking ; and his colouring appears 
 much changed from its original tint, either by an injudicious and improper mixture of 
 the colours, or by not ufing thofe that were of the mod durable kind. So that pofterity 
 will fcarce be able to judge of his merit; fince, even already, there is fo evident an' 
 alteration, by the fading of the lighter colours, and by the increafing blacknefs of the 
 darker. 
 
 When his paintings were new from the pencil, they had an uncommon and furprifing 
 luftre; but all that brightnefs and beauty is fucceeded by palenefs in one part, and addi- 
 
 Y y tional 
 
K U I 
 
 [ 344 ] 
 
 KUP 
 
 tional darknefs in another. Yet he cannot but be always accounted a good artift, who 
 was capable of imitating fo great a mafter as Piazetta, and of imitating him to fuch a 
 degree of exactnefs as to deceive the mod fagacious judges. 
 
 John Van KUICK. 
 
 Painted Hijlory and Portrait. 
 
 DIED 1572, AGED 42. 
 
 He was born at Dort, in 1530, and for fome years lived in general elteem, being 
 accounted a very fine painter on glafs, as well as in oil colours ; and his compofition 
 was allowed to have fomething in it that was judicious and mafterly. But having 
 indifcreetly given fome flight offence to the Jefuits at Dort, they perfecuted him with a 
 raoft unremitting feverity, accufed him of herefy, and prevailed fo far as to have him 
 imprifoned. He was kept in irons for a long time, although John Van Boudewinze, 
 the Chief Juftice, took all poffible pains to procure his enlargement ; and Kuick, out of 
 gratitude, painted a picture for that Magiftrate, reprefenting the Judgment of Solomon,, 
 in which he defigned the portrait of his benefactor, for the head of the principal figure* 
 as a particular compliment. 
 
 That picture having been finifhed during the confinement of the painter, it gave new 
 offence to that unforgiving tribe, the Jefuits, who daily contrived means to increafe the 
 miferies of his imprifonment, and never ceafed their perfecution of him till they 
 extorted a final fentence from the judge, condemning him to death. That fentence the 
 Jefuits and Monks took care to have immediately executed j and they caufed him to be 
 burned alive, to the inexpreflible concern of all Proteftants, who dreaded the tyranny 
 and perfecuting fpirit of the church of Rome, and to the univerfal regret of all the 
 lovers of the art of painting. 
 
 John KUPETZKI, or KUPIESKI, 
 
 Painted Hijlory and Portrait. 
 
 DIED I74O, AGED 73. 
 
 This painter was a Bohemian, born in 1667, at Porfina, on the frontiers of Hungary 3 
 of an obfcure family, incapable of affording him an education fuitable to his genius and 
 talents. His father was eager to have him fixed to a trade, and for that reafon he with- 
 drew himfelf privately, to avoid a fituation that feemed difagreeable to him, and directly 
 contrary to his inclination, though he was under a neceflity of begging as he travelled, 
 and fuffered extreme hardfhip. Entirely undetermined whither to direct his courfe, he 
 flopped accidentally at the caftle of Count Czobor, in queft of fome aftiftance, and there 
 faw a painter at work, whofe name was Claus, and whofe reputation in that country was 
 confiderable. 
 
 Kupetzki, 
 
KUP 
 
 C 345 ] 
 
 K U P 
 
 Kupetzki furveyed the work with remarkable attention for fome time; and then, taking 
 up a piece of charcoal, he imitated on the wall fome of the ornaments with fuch fpirit, 
 that the Count and the painter were furprifed, when they faw that effort of ftrong unin- 
 ftructed genius ; for Kupetzki, being alked what mafter had taught him, anfwered, that 
 his love for the art had been his only director. Such a fudden exertion of genius had a 
 very happy effect for the deftitute traveller, on the mind of Czobor ; for that nobleman 
 generoufly took him under his protection, maintained him in the caftle, provided every 
 necefTary for him, and engaged Claus to inftruct him in the art of painting. 
 
 He foon became capable of affifting his mafter in feveral great works; employing his 
 leifure hours in copying fome paintings of Carlo Loti, which were in the collection of 
 die Count ; and, by ftudying the ftyle and manner of that mafter, he fo far admired him, 
 that he endeavoured induftriou fly to imitate him. In that way he fpent three years with 
 Claus in Bohemia, and alfo at Vienna; and then quitting him, he went to Venice and 
 Rome for farther improvement. In thofe cities, he for fome time diligently copied the 
 works of the beft artifts ; till at laft his reputation fo increafed, that he was employed by 
 the Nobility of Rome, was enriched and honoured, and particularly patronifed by 
 Prince Staniflaus Sobielki. The merit of his works may reafonably be conjectured, by 
 the purchafe made by the Margrave of Brandenburg Bareith, who, for nine of his pictures, 
 gave Kupetzki fixteen thoufand German florins. 
 
 He was exceedingly defirous to arrive at perfection in his art, and omitted no labour or 
 indufhy to procure improvement in every branch of it. Having, therefore, obferved that 
 the Roman fchool was principally famous for defign, and inferior to others in regard to 
 colouring, he went to Bologna, to ftudy and copy the works of Guido, to acquire his 
 delicate manner of penciling; from thence he vifited Florence and Parma, to ftudy 
 Correggio; and at laft went a fecond time to Venice v to ftudy Titian, whofe colouring 
 is fo univerfally allowed to be fuperior to all. From fo commendable an attention to 
 thofe eminent matters, his own ftyle was elegantly formed ; and the portraits of his hand 
 were preferred to the beft of his cotemporaries. His colouring was admirable, his 
 pencil broad, and his touch full of fpirit. 
 
 The Emperor Charles III. would willingly have retained him in his fervice as principal 
 painter, which ftation he had held under the Emperor Jofeph ; but he perferred his liberty 
 to all the advantages of fo honourable an employment. He painted the portraits of the 
 Imperial family feveral times, and the prime Nobility of that Court; and had alfo the' 
 honour of painting the Czar Peter, and moft of the Princes of Germany. 
 
 In refpect of his colouring, in which his greateft excellence confifted, he was compared 
 to Rembrandt; but, in regard to the hands, he was equalled with Vandyck. One 
 Writer, indeed, alledges, that his portraits were too lean, and the fingers too fhort; but 
 Mr. Fuefsli, a Swifs painter, and a good judge, juftifles Kupetzki from that imputation; 
 and affirms, that though he might fometimes be guilty of thofe faults, yet they were 
 faults not generally obferved in the works of this painter. But Fuefsli confeffes that, in 
 the latter part of his life, he was apt to fpend too much time on his pictures ; and would 
 
 Y y 2 often 
 
k u y 
 
 C 346 3 
 
 K U Y 
 
 often have fpoiled them by too much retouching, if they had not been taken out of his 
 hands. The colouring of his heads engaged his principal attention, and he feemed rather 
 negligent of the draperies ; yet no mafter could poflibly have a more extenfive knowledge 
 of the chiaro-fcuro than Kupetzku 
 
 # *> 
 
 Jacob Gerritze KUYP, or Cuyp. 
 
 Painted Landfcapes, Battle s, and Cattle. 
 
 He was born at Dort, and learned the art of painting from Abraham Bloemart, by 
 whofe inftru&ion he became an extraordinary good painter of landfcape. His principal 
 fubjects were the different views, which he fketched after nature, in the environs of 
 Dort ; always being attentive to introduce pieces of water, or rivers, with cattle on the 
 banks, and particularly cows and fheep. Yet frequently he painted battles, as alfo the 
 marchings or encampments of armies. 
 
 He had a good pencil, a broad and free touch, a tone of colouring that was fweet and 
 agreeable, an outline generally correct, with great tranfparence in his water, and good 
 keeping. His memory is held in juft efteem at Dort, for being the founder of the 
 painting academy of St. Luke, in that city j which he eftablifhed in concurrence with 
 three other artifts of diftinclion, Ifaac Van Haflelt, Cornelius Tegelberg, and Jacques- 
 Grief, in the year 1642. 
 
 Albert KUYP, or Cuyp. 
 
 Painted Cattle, Landfcape , and Moon -lights. 
 
 He was born at Dort, in 1606, the fon of Jacob Gerritze Kuyp, and alfo his difciple; 
 though in his manner he differed extremely from his father, being abundantly neater in 
 every part of his works ;. nor was his penciling fo rough and bold as any other painter 
 of the fame name. The father principally adhered to one or two fpecies of animals j. 
 but to Albert, oxen, fheep, cows, horfes, fruit, landfcape, fmooth water, or fhips and 
 boats, were all equally familiar, either to defign or to execute. He excelled in every 
 article that he attempted to reprefent, and painted every object in the fame free and 
 natural manner j always lovely and true in his colouring, always clear and tranfparent. 
 
 He was accuftomed to obferve nicely even the particular times of the day, to exprefs 
 the various diffufions of light on his objects, with all the truth of nature ; and in his 
 pictures, the morning, attended with its mifts and vapours, the clearer light of noon, 
 and the faffron-coloured tints of the evening, may readily be diftinguifhed. He likewife 
 excelled in moon-light pieces i fome of them being fo admirably expreffed, that the 
 glittering reflection of the lunar beams on the furface of the water, appeared more like 
 real nature, than like any imitation of it. 
 
 The moft capital performance of this mafter is the reprefentation of the cattle-market 
 at Dort, and the fquare whece the troops and foldiers exercife. In that picture he has 
 
 painted 
 
L A E 
 
 C 347 3 
 
 L A I 
 
 painted the moft beautiful horfes that appeared on the parade, fo like, that every one of 
 them might be as diftin&ly known in the painting, as in their evolutions. His ftudies 
 were entirely after nature, and moft of the views which compofe the fubjedts of his 
 landfcapes are in or about the city of Dort. He left a great number of drawings 
 and defigns, heightened with water-colours, which are preferved as curiofities by the 
 connoiffeurs. 
 
 L. 
 
 Peter Van LAER. Vid. B amboccio, 
 
 Roeland Van LAER, or Laar. 
 Painted Converfations, Cattle^ and Landfcapes.- 
 
 DIED 164O, AGED 30. 
 
 He was the elder brother of Bamboccio, born at Laeren, near Narden, in 16 ro, and 
 painted in the fame ftyle and manner as his brother; being not much inferior to him, 
 either in colouring, pencil, or defign. He travelled to Italy along with Peter, and they 
 refided together at Rome for feveral years ; Roeland painting the fame fubjeds, and 
 following his profeflion with very great fuccefs. 
 
 He left Rome to vifit Genoa, perhaps with a view to avoid all competition with his 
 brother j and it is highly probable that he would have made a confiderable figure, if he- 
 had not been cut off in the prime of his years in that city- 
 
 Gerard LAIRESSE. 
 Painted Hijiory and Portrait. 
 
 DIED I7I I, AGED * JI. 
 
 This matter was. born at Liege, in 1640, and received the ^principal knowledge of the 
 art of painting from his father, Reinier de LairelTe, though he is alfo accounted a 
 difciple of Bartolet. His manner of handling was indeed very like the manner of that 
 mafter, and his pi&ures'were in as good efteem ; the only perceptible difference feems to 
 be, that the pencil of Laireffe was more rough than that of Bartolet, and his colouring 
 
 not 
 
 * The authors of the Abrege de la Vie des Peintres, by fome overfight, fay, that LairelTe died at the age of fixty 
 years, although they fix hit birth ia 164c, and his death in IJU, which evidently makes him 7.1. 
 
L A I 
 
 t 348 ] 
 
 L A I 
 
 not fo melting and delicate. By his intimacy and converfation with Bartolet, he acquired 
 that tafte of the antique which is obfervable in all his works, though he was afterwards 
 more fully inftructed by others. But he formed his ftyle and tafte of defign, by the 
 prints and drawings of Pietro Tefta, Nicolo Pouflin, and the ftudies of Bartolet, which 
 the latter (ketched from the veftiges of the fuperb ancient buildings at Rome, and alfo 
 after the antique ftatues. 
 
 When he began to follow his profeflion for a livelihood, he fettled at Utrecht ; yet he 
 was there in very diftrefTed circumftances, and fo neceflitous as to be obliged to paint 
 induftrioufly, to procure even a poor maintenance. But at laft, through the perfuafion of 
 fome friend, he fent one of his pictures to a picture-merchant at Amfterdam, whofe name 
 was Vylenburg, who mewed it to Grebber and John Van Pee ; and thofe artifts com- 
 mended itfo highly, that Vylenburg, having enquired where he could fee the author of that 
 picture, went immediately to Utrecht, and prevailed on Lairefle to go with him to 
 Amfterdam ; which happened to prove the means of raifing him from want and 
 obfcurity, to aifluence and reputation. 
 
 His method of working was very fmgular ; for, when his employer placed an eafel, 
 with a palette and pencils before him, expecting to fee him begin to defign, Lairefle fat 
 down before the canvas, and, appearing contemplative for a few minutes, he pulled out 
 a violin, which he ufually carried about him, and began to play ; then, fuddenly laying 
 aiide the inftrument, he fketched a defign of the Nativity, and immediately refumed the 
 violin; till having unbended his mind for a while with the mufic, he purfued his work, 
 painting and playing alternately, and in two hours completed the heads of Mary, Jofeph, 
 and the Infant Chrift, as alfo the Ox; and all fo firmly executed, and well finifhed, as 
 to aftonifh thofe who were fpectators of the tranfaction. In his painting he was wonder- 
 fully quick and expeditious, having had fuch a readinefs of pencil, as directly cor- 
 refponded with the livelinefs of his imagination, and the fprightlinels of his ideas; and 
 that extraordinary power of hand is fufficiently evidenced, by the great number of 
 compofitions which he finifhed. Of his quicknefs he gave one inconteftable proof, by 
 having laid a large wager, that he would finifh in one day, on a pretty wide canvas, a 
 picture of Apollo and the nine Mufes; which wager he won, although he alfo painted 
 the portrait of aperfon who ftood admiring his work, for the head of the Apollo. 
 
 He was very ftudious to fix the attention of the fpectators on the principal figures in 
 his fubject; though other very great mafters have injudicioufly neglected that juft 
 obfervation. But all his paintings are by no means equal, either in compofition, correct- 
 nefs, or invention. Perhaps that inequality of merit might have been partly oecafioned 
 by the languor of his fpirits at particular times, and partly by the multiplicity of his 
 unci ertakings : but, in every one of his pictures, there are great appearances of a 
 mafterly genius; for his expreflion is generally lively, his colouring good, true, and 
 glowing; and a light, firm touch, gives a beauty and value to every thing he painted. 
 In his draperies may be obferved the tafte of the beft mafters of Italy; they are light, 
 
 2 broad, 
 
LAI C 349 ] LAN 
 
 broad, fimple, and in very natural folds; but the draperies of his women were of filks, 
 that admitted of different reflections of light, and fometimes gave them a look of 
 Tichnefs, as in his picture of Stratonice. His figures ufually were well turned, though 
 fometimes rather too (hort; and notwithstanding that fome of them wanted grace, yet he 
 defigned many that were truly graceful. 
 
 He had the unhappinefs to lofe his light feveral years before he died ; but even then he 
 was conftantly attended by the artifts and lovers of painting, to receive inftrudtion from 
 him, of which he was remarkably communicative; and the treatifes on defign and colouring, 
 which pafs under the name of Lairefle, were not wrote by him, but collected from his 
 obfervations, after he was blind, and publifhed after his death, by the fociety of artifts. 
 
 Whenever the back-grounds of his pictures required architecture, he defigned it in a 
 grand ftyle, as if the ruins of Athens or Rome had been his models. 
 
 The picture which is accounted his mod capital performance, is the Hiftory of Helio- 
 dorus, which is at Amfterdam; and the pictures of Young Mofes trampling on the 
 Crown of Pharaoh, of Polyxena, Germanicus, and Anthony and Cleopatra, are very 
 highly celebrated. 
 
 Ernest L AIRES SE, 
 Painted Animals. 
 
 He was brother to Gerard Lairefle, and derived his knowledge of the art of painting 
 from his father, Renier de Lairefle. He made very confiderable advances in his profefiion, 
 even while he was a young man, and excelled in painting all forts of animals. He ftiewed 
 fo good a genius, that the Prince of Liege fent him to Rome to improve himfelf, and 
 from thofe excellent models, which he had an opportunity of ftudying there, he made as 
 great a proficiency as could be expected. 
 
 That Prince retained him in his fervice when he returned from Italy; and he continued 
 at that Court, in much favour and efteem, as long as he lived. 
 
 He had a brother, John Lairesse, who painted all kinds of animals in the fame tafte 
 as Erneft, and with very good fuccefs; he had likewife another brother, James 
 Lairesse, who excelled in painting flowers. 
 
 Nicholas LANCRET, 
 
 Painted Conversations. 
 
 died 1743, aged $y 
 
 He was born at Paris, in 1690, and, according to the moil authentic writers, was a 
 difciple of Watteau ; but, according to the Chronological Tables, he was the difciple of 
 Gillot ; yet probably he might have been inftructed by both. Under the direction of 
 Watteau he made an extraordinary progrefs ; and fo well imitated the ftyle and manner- 
 
 of 
 
LAN 
 
 i 35° ] 
 
 LAN 
 
 of his mafter, that fome of his works are frequently taken for the genuine paintings of 
 Watteau. And although it cannot be truly faid that he arrived at the excellence of his 
 mafter, either in the fpirit and delicacy of defign, or the beauty of his colouring and 
 handling, yet his paintings are lively and agreeable. 
 
 He was indefatigable in his profeflion, and finiflied a great number of pictures ; in all 
 which may be obferved a great deal of truth and nature, good compofition and execution, 
 groupes of figures, well difpofed and agreeably turned, and the whole handled with a 
 light pencil. 
 
 LANG JAN. Vid. Reyn. 
 
 John LANFRANC, Cavaliere. 
 Painted Hijlory. 
 died 1647, AGED 66* 
 
 This mafter was born at Parma, in 1581 ; at firft was the difciple of Agoftin© 
 Caracci, but afterwards of Annibal, to whofe tafte of defign and colouring he adhered 
 entirely. He obtained, under that eminent artift, fo great a degree of knowledge in his 
 profeflion, and fuch a power in penciling, that he was employed by Annibal to execute 
 fome of his deiigns in the Farnefian palace at Rome; which he finilhed in fo mafterly a 
 manner, that he made the difference imperceptible between his work and the work of his 
 mafter, even to this day. 
 
 His genius directed him to grand compofitions ; for lie had a peculiar facility in 
 defigning them, and he painted in frefco as well as in oil. His imagination was lively, 
 and his hand ready to execute the ideas which occurred to his mind ; but that remarkable 
 eafe with which he invented, and that readinefs in expreffing his conceptions, caufed him 
 to be lefs attentive to the ftudying every part of his delign, and lefs careful to obferve the 
 requifite correctnefs. While he was under the guidance of Annibal, he was much more 
 correct ; but, after the death of that celebrated artift, he abandoned himlelf more to the 
 impetuofity of his genius, and with much lefs regard to regularity and the beauty of 
 proportion. The Cupola of Parma (which was painted by Correggio) Lanfranc fludied 
 fo particularly, that it enlarged his ideas, and gave him fuch a fondnefs for the admirable 
 effect: produced by forefhortened figures, when they are happily executed, and alfo fuch a 
 tafte for the grandeur of compofition, that, in the Cupola of St. Andrea della Valle at 
 Rome, he defigned figures of above twenty feet in height, which have a noble effect. 
 As he was thoroughly acquainted with the principles of perfpective, thofe large figures 
 appear but of a natural and juft proportion from the point of obfervation below; and to 
 a judicious eye they feem much more commendable than fome of his fmaller defigns. 
 The fubject of that painting, is the reprefentation of the Saints in Glory; and it is 
 efteemed his moft capital performance. He did indeed covet to imitate the grace of 
 
 Correggio, 
 
 ( 
 
LAN 
 
 r 351 1 
 
 L A N 
 
 Correggio, but never could arrive at that excellence; his greateft power being manifefted 
 in his compofition and fore-fhortening; for he was deficient in correctnefs and exprelfion* 
 and his colouring, though fometimes admirable, was frequently too dark. 
 
 His figures are well grouped, and his draperies have an uncommon elegance; but 
 although his tafte of defign, in imitation of his mafter Annibal, is always grand, yet 
 could he not preferve the fame corre&nefs ; nor is his colouring, or the tint of his car- 
 nations, anyway comparable to thofe of Annibal; his fhadows particularly being too 
 black in general, and frequently more fimilar to the tints of Caravaggio. Although he 
 was not well (killed in the management of the chiaro-fcuro, being unacquainted with its 
 true principles, yet he fometimes practifed it, rather from the felicity of his genius than 
 from any knowledge of the art. However he had abundant merit in his profeflion, and 
 his beft works will always fupport their great and deferved reputation. 
 
 By order of Pope Urban VIII. he painted in the church of St. Peter at Rome, the 
 reprefentation of that Saint walking on the water ; which afforded the Pope fo much 
 fatisfaction, that he conferred on him the honour of knighthood. One of the excellent 
 compofitions of Lanfranc, is in the church of St. Anne, at Naples. It reprefents the 
 Virgin and Child, with St. Domenic, and St. Januarius. The compofition is truly fine, 
 the colouring admirable, and the effect beautiful and brilliant. The head of the Virgin is 
 in a grand ftyle, and with a character full of majefty and dignity ; and in the fame city, 
 in the Palazzo della Torre, there is a picture by this mafter, which is efteemed equal to 
 any of his productions. The fubject is St. Francis dying, attended by Angels, who are 
 aflifting and comforting him in his laft moments, and the figures are as large as life. 
 Some of the heads of the Angels are in the tafte and ftyle of Domenichino, the colouring 
 is ftrong, the manner of defign grand, and the head of the Saint is particularly fweet 
 and amiable. 
 
 Henry LANKRINCK. 
 
 Painted Landfcape* 
 
 DIED 1692, AGED 64. 
 
 He was born in 1628, learned the art of painting in the academy at Antwerp, and 
 became a painter of confiderable note. He ftudied principally after Titian and Salvator 
 Rofa; and met with an encouragement in England equal to his merit. His landfcapes 
 mew a good invention, good colouring and harmony, if they are of his beft manner; 
 and they are extremely free and beautiful in the fkies. His views are ufually of a rough 
 rude country, with broken grounds and uncommon fcenery, having fome ftrong lights 
 judicioufly placed, and great warmth; and as to the figures which he introduced, they 
 were properly difpofed and defigned in imitation of Titian. 
 
 Andrea 
 
LAN 
 
 r 3 5^ J 
 
 L A K 
 
 Andrea LANZANO, 
 
 Painted Hi/lory. 
 
 DIED I712. 
 
 He was a Milanefe, and the difciple of Ludovico Scaramuccla ; but having fpent fome- 
 years under that mafter, he went to Rome, and placed himfelf in the fchool of Carlo 
 Maratti. By the inftru&ions of that famous artift he became a painter of diftinguifiied 
 note j and was much efteemed for the goodnefs of his compofition and defign, for the 
 beauty of his colouring, and for the grace and dignity of his figures, 
 
 Nicholas de LARGILLIERE. 
 
 Painted Portraits, Hijlory, Animals, and Land/cape.- 
 DIED I746, AGED 90. 
 
 He was bonv at- Paris, in 1656, and at firfl: intended for a commercial bufinefs ; but 
 his father having taken the young man along with him on a trading voyage to England, 
 and finding the bent of his genius to be folely to the art of painting, indulged the 
 inclination of his fon, and placed him as a difciple with Francis Gobeau, a painter of fome 
 confiderable note. Although he was taught in that fchool to paint fruits, flowers, fifhj 
 landfcapes, and animals, or fubjects taken from low life, in the manner of Bam- 
 boccio and Jan Miel^ yet Largilliere had more elevated ideas, and applied himfelf to 
 flrudy the works of the great matters in the hiftorical ftyle, as being more luitable to his 
 turn of. mind, and more likely to gain him that diitin<5bion, of which he feemed ambitious. 
 He fpent fix years in conftant application to his ftudies; endeavouring to obferve and 
 imitate nature, in every part that might conduce to improve him in the profefiion he 
 had undertaken. 
 
 When he thought himfelf fufficiently qualified to commence painter, he went to 
 London, where he gained the friendfhip and countenance of Sir Peter Lely, who 
 exprefled much efteem for his works ; and at laft he was fo far honoured, as to be made 
 known to King Charles II. for whom he painted feveral pictures. At his return to 
 Paris, Vander Meuleh and Le Bran having feen fome of his performances, encouraged 
 him to continue in his own country, and procured him friends by their recommendation ; 
 fo that his reputation was generally fpread through Paris, and Lewis XIV. fat to him for 
 his portrait, as alfo did James II. and his Queen. 
 
 He was accounted to have had a good genius, to compofe well, to be correct in his defign, 
 and to diftribute his draperies judicioufly; his principal excellence, however, confifted in 
 his colouring, and particularly in portraits, of which the heads and hands were remarkably 
 well executed, with a light and fpirited pencil. His tint of colour was clear and frefh, 
 and, by his manner of laying on his colours, without breaking or torturing them, they 
 
 have 
 
L A R 
 
 t 353 1 
 
 LAS 
 
 have long retained their original freflinefs and beauty. It is obferved by fome French 
 writers, that he was admitted into the academy as an hiftorical painter, that circumftance 
 feeming to imply a higher compliment to the abilities of Largilliere ; yet, though feveral 
 of his defigns in hiftory may juftly defer ve commendation, his reputation is certainly 
 more eftabliihed as a painter in portraits, than as a painter of hiftory. But the French 
 rarely omit even the fmalleft opportunity, either to load their own artifts with exaggerated 
 commendation, or to depreciate the artifts among the Englifti. 
 
 The moft capital work of this mafter, is a grand compofition reprefenting the Cruci- 
 fixion of Chrift ; in which the compaflion exprefled in the countenances of the fpedtators, 
 the grief of the Virgin, and the forrow of St. John, fhew a good underftanding of the 
 fubject. He was appointed director of the academy, as a public acknowledgment of his 
 merit; in which ftation he preferved that efteem which his talents had fo juftly procured 
 for him. 
 
 Marcellus LAROON. 
 
 Painted Converfations, Hiftory and Portrait, 
 
 DIED I765, AGED 52. 
 
 He was born at the Hague, in 1653, anc ^ instructed in the art of painting by his father, 
 till he went with him to England j but, on his arrival at London, he was at firft placed 
 with La Zoon a portrait painter, and afterwards with Flefhiere; yet his real improvement 
 was derived from his own affiduity. When he began to work for himfelf, as he had 
 diligently ftudied nature, he copied it clofely, fo that his manner was entirely his own. 
 He drew correctly, and painted drapery in a tafte that was far fuperior to any of his 
 cotemporaries ; and on that account was employed by Sir Godfrey Kneller, to paint the 
 draperies of his portraits. But the greateft merit of this painter confifted in his being 
 able'to imitate the ftyle, the touch, and the colouring of thofe mafters who were efteemed 
 the moft eminent; and his imitations arc very exact. 
 
 A picture of that kind (which the Italians call Paftici) is mentioned in the collection at 
 Houghton, the feat of Lord Orford, which, it is faid, might eafily pafs for the work of 
 BafTan, though it was really painted by this artift. He painted converfations, and moft 
 kind of Subjects, in a large as well as in a fmall fize. 
 
 Peter LASTMAN. 
 
 Painted Hiftory. 
 
 He was born at Haerlem, in 158 1, and became a difciple of Cornelius Corneiifz, of 
 Haerlem; but when he had fpent fome years under the direction of that mafter, he 
 travelled to Italy, and improved himfelf both in his tafte of defign, and his handling. His 
 manner of compofing was with a number of figures, which he grouped with a great deal 
 of propriety, and very often difpofed them judicioufly. His naked figures are ufu'ally well 
 
 Z z 2 defignedj 
 
LAV 
 
 I 354 3 
 
 L A U 
 
 defigned, his draperies flowing and full, and his colouring strong ; but all his studies from 
 the antique, or the great mafters, could not divert him of his national tafte, nor furnifh 
 his mind with a competent degree of grace or elegance. 
 
 One of the mod: capital paintings of Laftman, is the history of St. Paul at Lyftra, in 
 which the characters are very well diftinguifhed, and particularly the priests, who have 
 an air of folemnity and dignity. He was exact in obferving the costume, not only in the 
 draperies of his figures, but even in the vafes and instruments ufed by the antients of thofe; 
 times in their facrifices. He had the honour of being the mafter of Rembrandt, and fonia 
 other considerable painters. 
 
 Jacob LA VECQUE. 
 Painted Portrait. 
 DIED 1674, AGED 50. 
 
 He was born at Dort, in 1624, and learned the art of painting in the fchool of 
 Rembrandt; yet he did not adhere to the manner of that great mafter, but rather chofe 
 to imitate De Baan. While he ftudied under Rembrandt, he painted one picture, which, 
 in the penciling and colouring, fo ftrongly refembled the work of that great artist, that it 
 might be readily miftaken for his. That picture Lavecque always kept by him, as a proof 
 of his ability in his profemon, and yet endeavoured to imitate an artift that was greatly 
 inferior to Rembrandt. 
 
 Filippo LAURA, or LAURL 
 Painted Landscape and Hijlory, 
 
 DIED 1694, AGED 71. 
 
 This admired artift was born at Rome, in 1623, the fon of Balthafar Laura, a good 
 painter, who had been the difciple of Paul Bril. From his father, Filippo learned the 
 rudiments of the art, but afterwards he ftudied under Angelo Carofello, who was his 
 brother-in-law j and proved In a ftiort time fo great a proficient, that he far furpafied his 
 instructor in defign, colouring, and elegance of tafte. He attended aftiduoufly to nature; 
 he examined thofe paintings that were excellently performed by others, and made fo happy 
 a ufe of his obfervations, that he changed his firft manner entirely, and formed another, 
 more fweet, more pleafing, and much more delicate, as well in the fcenery as in the 
 colouring. 
 
 He applied himfelf to painting historical subjects in a fmall fize, enriching the back- 
 grounds with lively landfcapes, that afforded the eye and the judgment equal entertainment. 
 But although he moftly delighted to paint in fmall, he finifhed feveral very grand com- 
 positions for the altar-pieces of churches, which were highly approved; yet were his 
 works in fmall exceedingly more admired, than thofe of a larger proportion, 
 
 It 
 
L E E 
 
 C 355 ] 
 
 LEE 
 
 It cannot perhaps be truly affirmed that he was one of the firft rank of painters at Rome, 
 but his paintings have abundance of merit and elegance. He defigned well, and had 
 confiderable grace in his compofitions. The ftyle of his landfcapes is always pleafing; 
 and though his landfcapes have not aH an equal degree of merit, fome of them being a 
 little too ftrong, and fome too faint, yet they have in general a lively freftinefs, which 
 will always allure the eye, and pleafe the judicious. 
 
 He had a rich invention, and an accurate judgment; his ufual fubjects were hiftories, 
 or fables taken from the Metamorphofis of Ovid, or bacchanals, or landfcapes with delicate 
 figures, all painted in a fmall fize ; and his works are now extremely valued for corredt- 
 nefs of outline, for the delicacy of his touch, and for that fpirit which enlivened all his 
 compofitions. They are in universal efteem, and eagerly bought up, at large prices, in 
 every part of Europe. 
 
 John Anthony Vander LEEPE. 
 Painted Landfcapes, Sea-pieces, Storms, and Calms, 
 
 DIED I72O, AGED 56. 
 
 He was born at Bruges, in 1664, of a diftinguiflied and wealthy family. His firft ideas- 
 of painting were formed, only by obferving the embroideries of a young lady ; and he 
 accuftomed himfelf to imitate in water-colours what fhe worked with her needle. 
 Afterwards he added to his knowledge and tafte, by copying prints and good defigns of 
 other mafters in water-colours ; till, by the afiiftance of a ftrong natural genius, and- 
 fedulous application, he acquired an expertnefs in painting, not only with the colours 
 he ufed originally, but alfo with oil. 
 
 His fancy led him to paint landfcapes, which he always (ketched after nature ; and 
 likewife to reprefent views of the fea, in ftorms, and in calms : thofe fubjects he was 
 fo defxrous to defcribe agreeable to truth, that he constantly took his obfervations on 
 the fea-fhore; and defigned the profpects, the diverfified appearances of the water, and 
 every object that engaged his attention, with the utmoft precifion on the fpot, adapting 
 afterwards his ikies with extraordinary ikill, fo as to render them fuitable to his fubject. 
 From fome of thofe fketches he finiflied a very large fea-piece, that had a furpriiing 
 grand effect; and he alfo painted a landfcape, with figures reprefenting the Flight into 
 Egypt; in, which the trees, the foliage, and the plants were beautifully coloured, and 
 touched in the ftyle of a mafter. That picture is in the church of St. Anne, at Bruges. 
 
 The utmoft ambition of Vander Leepe was to vifit Italy ; but he was prevented by 
 the tender remonftrances of his parents, and alfo by his having married early, and 
 holding fome honourable and lucrative employments, which demanded his perfonal 
 attendance; and he continued to paint, merely from the pleafure he derived from the 
 practice of his art, and not from any motive of being enriched by his labours. 
 
 It feems very extraordinary, that a perfon who had never been regularly trained to the 
 profcflxon, who had no inftructor, and who had been indebted even to an embroiderefs for 
 
 his- 
 
LEE 
 
 r 356 j 
 
 LEE 
 
 his firft knowledge fhould arrive at fuch eminence, as to induce every connoifleur who 
 faw his works, to conclude that he had ftudied in Italy. His landfcapes are very much 
 in the tafte of Genoels, and frequently in the ftyle of Pouflin. He painted with extra- 
 ordinary readinefs and eafe, having a light free touch, and a good tone of colouring, 
 though ibmetimes his colouring appears rather too grey; but his fea-pieces are more 
 highly valued than his land-profpects. The figures in his pictures are generally painted 
 by Mark Van Duvenede, and Nicholas Kerckhove, two good mafters, who adapted the 
 figures to the fubjects with great fkill and propriety. 
 
 Gabriel Vander LEEUW, or De Leone. 
 
 Painted Oxen, Sheep, and other Animals. 
 
 DIED l688, AGED 45. 
 
 "He was born at-Dort, in 1643, and learned the art of painting from his father, Sebaftian 
 Vander Leeuw, who was an exceeding good painter of animals, having been bred in the 
 ichool of Jacob Gerritze Kuyp. But the genius of Gabriel being ftrong and lively, it 
 foon enabled him to furpafs his father, and appear with credit in his profeffion. 
 
 However, he feemed confeious that he ftood in need of farther improvement, and there- 
 fore, to obtain a.better-tafte, he refolved to travel to Italy, and in his progrefs vifi ted France, 
 Turin, Naples, and Rome. He fpent fourteen years abroad, four at Paris and Lyons, and 
 ten in Italy, and particularly attached himfelf to the ftyle of Caftiglione, and Philip Roos, 
 called Rofa da Tivolij but he ftudied the latter with more fatisfaction than he did the 
 other, and at laft imitated his model happily in the freedom of his touch, and the readinefs 
 or rather the rapidity of his hand. Houbraken afferts, that he had feen a picture of this 
 mafter, in the manner of Rofa da Tivoli, reprefenting a drove of oxen, fheep, cows, and 
 Other cattle, which was painted with extraordinary fpirit, and with great boldnefs and 
 freedom of pencil. 
 
 He ftudied his fcenes and every object after nature, and fpent whole days in the fields, 
 to obferve the forms, actions, and attitudes of thofe different animals which he intended 
 for his fubjects, fketching them with great exadtnefs; by which conduct, he not only 
 acquired the habit of defigning correctly, but he furnifhed himfelf with a variety of objects 
 proper to be inferted in any of his future compofitions. 
 
 When he returned to Holland, his works were extremely acceptable to the public, and 
 immediately bought upj but, as he painted expeditioufly, and finifhed his pictures 
 furprifingly faft, their number proportionably diminifhed their price, and he felt a fevere 
 mortification, on obferving that the demand for his works decreafed daily. That difcou- 
 ragement made him refolve to return to Rome or Naples, where he had formerly 
 experienced -the great-eft fuccefs ; but he was prevented from putting that project into 
 execution <by his death, which happened at Dort. 
 
 This artift had a very fine genius: his invention was lively and ready^ and his hand as 
 expeditious as his thought. His pencil was free, broad, and firm, and his colouring 
 
 Ihewed 
 
LEE C 357 3 LEG 
 
 fhewed the ftyle of the Roman fchool; but that tone of colour was not agreeable to the 
 Flemifh tafte, which feems to prefer the high finifhing in pictures, and invincible patience 
 in neat handling, to almoft every other perfection in the art of painting. 
 
 Peter Vander LEEUW. 
 Painted Oxen, Cows, Sheep, and other Animals. 
 
 He was born at Dort, in 1644, the younger brother of Gabriel Vander Leeuw, and 
 inftructed in the art by his father Sebaftian. He painted the fame kind of fubjects as his 
 brother, and with abundance of merit} but his manner of penciling and colouring was quite 
 different from Gabriel's, and better adapted to the tafte of his countrymen ; for he finifhed 
 his pictures neatly, and took all pofiible pains to render them tranfparent, giving them 
 alfo an agreeable and natural tone of colour. 
 
 Of all the Flemifh artifts he principally admired Adrian Vander Velde; he made him 
 his model j and was fo ambitious to imitate him, that whenever he fat down to paint 
 any defign of his own, he always placed a picture of Adrian's before him, that he 
 might ftrike out fome refemblance of that mafter, either in refpect of his compofition, his 
 colouring, or defign ; by which means his paintings have always fomewhat that reminds 
 one of Adrian. 
 
 Yet, notwithstanding his acknowledged merit in his profeflion, he had an odd, whim fical, . 
 and difagreeable humour, which often gave offence to thofe who were beft inclined to 
 become his friends and benefactors. That peevifh and perverfe temper effectually 
 prevented all perfons of tafte from vifiting him, excited a general diflike, and compelled 
 him to difpofe of his works at a low rate, far below their intrinfrc value. 
 
 Stefano Maria LEGNANO, called Legnanincv. 
 
 Painted Hi/thy* 
 
 DIED I715, AGED 55. 
 
 This mafter was born near Bologna, in 1660, and received his early inftruction from - 
 his father Ambrogio; but he was afterwards a difciple in the celebrated fchool of Carlo 
 Cignani, at Bologna, where he learned defign and colouring. Having made a great 
 progrefs under that excellent mafter, he went to Rome, and placed himfelf as a difciple 
 with Carlo Maratti, with whom he continued for three years. During that time he 
 applied himfelf diligetnly to copy the works of the beft artifts, and formed a peculiar ftyle, 
 extremely pleafing ; in which he blended the different manners of the Roman, the Milanefe, 
 and the Bolognian painters. 
 
 His fubjects were hiftories, taken from the facred, and alio from the fabulous writers; 
 which he executed with fuccefs, compofing them with elegance and true tafte. Some of 
 his beft works are at Milan ; in which a judicious obferver may behold a beautiful 
 
 imagination* , 
 
L E I 
 
 \l 358 3 
 
 LEL 
 
 imagination, a fine turn of thought and invention, a charming diffufion of light, an 
 excellent management of the chiaro-fcuro, a bold relief, and the whole touched with 
 a free and fweet pencil. 
 
 Giovanni Antonio LEISMAN. 
 
 Painted Hi/lory^ Landfcapes, and Sea-ports, 
 DIED 1698, AGED 94. 
 
 He was a German, born in 1604, who became a painter by the force of his own 
 natural genius, without any instructor, and merely by ftudying the beft paintings to be 
 feen in his own country. After fome years fpent in clofe application, he travelled to 
 Venice, and purfued his ftudies there fo very afiiduoufly after the works of Titian, 
 Tintoret, and Paolo Veronefe, that he rofe into high efteem. The principal Nobility in 
 that city kept him conftantly employed, and his paintings were admired for their fpirited 
 and lively touch, alfo for the delicate colouring in his fea-ports, landfcapes, architecture, 
 and hiftorical compofitions s all which fubjects he painted with great truth, nature, and 
 elegance. 
 
 Two of his pictures are particularly mentioned by Balthafar Pozzo, as being indifpu- 
 tably excellent. One is a landfcape with dreary mountains, and thick folemn woods, out 
 of which appears a gang of robbers preparing to affault fome unfortunate travellers. The 
 other is a fea-port, enriched with lovely views of magnificent buildings, antiques, and 
 other beautiful and elegant incidents. Both of them are finiftied with wonderful delicacy, 
 with a free pencil and a light touch, and have a very pleafing effect. 
 
 Sir Peter LELY, or Peter Vander Faes. 
 Painted Portrait and Landfcape. 
 
 DIED l68o, AGED 63. 
 
 He was born at Soeft, in Weftphalia, in 1617, but was placed as a difciple with Peter 
 Grebber, at Haerlem, with whom he continued for two years; and, at the age of twenty- 
 five, was accounted fo excellent a painter of portraits, that he became ftate painter to 
 King Charles II. By ftudying the works of the moll admired matters of Italy, of which 
 he purchafed a capital collection, and by making them his models, he formed for himfelf 
 a manner that was exceedingly agreeable. His pencil was light and delicate s his 
 colouring lovely ; the airs of his heads, and his figures, amiable and graceful ; his attitudes 
 were eafy, natural, and well chofen, with an inexhaufted variety. His draperies have 
 fuch an agreeable negligence, with broad folds, that his works in that refpect, as well as 
 in other particularities, are eafily diftinguilhable from all other artifts ; and they have 
 proved incomparable models for fucceeding artifts to imitate. However, he had a very 
 peculiar expreflion in the eyes of his female figures j a tender languifhment, a look of 
 
 * blended 
 
LEM [ 359 ] LEO 
 
 blended fweetnefs and drowfinefs, unattempted before his time by any mafter, which he 
 certainly conceived to be graceful. But although, in fome particular forms, it might happen 
 to have a defirable and fine effect, "yet, as his expreffion is the fame in all, he is accounted 
 a mannerift. The hands of his portraits are remarkably fine, and elegantly turned; and 
 he frequently painted landfcapes, for the back-grounds of his pictures, in a ftyle peculiar 
 to himfelf, more fuitable to his fubjects than perhaps any other mafter could poffibly have 
 painted. He likewife excelled in crayon-painting; nor are his portraits in that way, 
 which were finiftied entirely with his own hand, held in lefs eftimation than thofe 
 which he finiftied in oil ; and by fome connoifleurs they are accounted preferable to the 
 others. 
 
 His works are fo univerfally known in thefe kingdoms that they need no defcription ; 
 but they are alfo univerfally admired in all parts of Europe, where they are known. His 
 only difciples were Greenhill and Buckftiorn ; and he appeared fo jealous of having a 
 rival in either of them, that he would not permit them to fee in what manner he mixed 
 or laid on his colours, nor how he marked and diftributed them with his pencil ; though 
 each of them copied the works of their mafter to very great perfection. 
 
 Balthasar Van LEMENS, 
 Painted Hijlory. 
 
 DIED I704, AGED 67. 
 
 He was born at Antwerp, in 1637, and went*to London, after the Reftoration, to 
 follow his profeffion ; but he was not fo fortunate as to find encouragement, or fufficient 
 employment. He therefore was conftrained to procure a livelihood, by making fketches 
 for other painters. He compofed fmall hiftorical fubjects with tolerable fuccefs j they 
 were pleafing and well coloured ; and he had a free pencil, with a ready invention i. 
 fometimes {hewing a degree of elegance in his figures. 
 
 Aeto LEONE, called Coriario. 
 Painted Hijlory. 
 
 DIED I564, AGED 66. 
 
 He was born in the year 1498, and was a difciple of Cornelius Engelbrecht. The 
 ftyle in which he defigned was grand, and his figures were ufually as large as life, and 
 often even larger. His fubjects were hiftorical, taken from the facred writings, or from 
 fabulous authors, and fometimes from the Epic poets ; in which he was particularly fond 
 of introducing fuperb architecture, or pieces of bas-relief, which he defigned and executed 
 v/ith great freedom of hand, and elegance of tafte. 
 
 « 
 
 A a a 
 
 N, Vander 
 
LEU 
 
 [ 3 6 ° 3 
 
 LEY 
 
 N. Vander LEUR. 
 
 Painted Hi/lory- and Portrait. 
 
 This artift was born at Breda, in 1667, according to Defcamps, but according to the 
 Chronological Tables,, in 1657; and went to Rome when he was a youth, not yet arrived 
 at his twentieth year. Soon after his arrival in that city,, he had the happpinefs to- 
 obtain the patronage of a Cardinal, who procured him accefs to the richeft collections 
 of paintings, and by that means afforded, him an opportunity of feeing and ftudying, 
 the mod capital performances of the great matters. He devoted his whole time to his 
 improvement, and was as diligent in his, ftudies after nature, as he was in copying 
 from the nobleft models; till at laft he was accounted the beft copyift at Rome. He: 
 defigned well, and in. every refpect made himfelf an able artift before he quitted Italy ;. 
 and on his return to his own country, he received confiderable applaufe for feveral of his 
 compofitions. 
 
 But although he might be allowed to defign and colour well, and although he underftocd 
 perfpedtive and architecture, and might juftly be efteemed a good painter of hiftory, yet 
 his imagination was cold, and his invention flow and. difficult ; fo that it was rather a. 
 labour than a pleafure to him to undertake a competition. However, he excelled in 
 portraits, and might have been without a competitor in that branch, if he had confined 
 himfelf entirely to it. His beft performance is in the church of the Recollets at Breda, . 
 and it is fufficient to eftablifh his reputation. 
 
 Lucas Van LEYDEN, or Hugense, 
 Painted Hiftory and Portrait. 
 DIED I533, AGED 39' 
 
 This ancient artift was born at Leyden, in 1494, and inftrudted in the principles of 
 the art by his father, Hugues Jacobs, a painter of fome note. From his infancy he was 
 exceedingly ftudious, not omitting his application even in the night, as well as in the 
 day; and, by fuch inceflant induftry, he was qualified to produce fuch works at the age of 
 nine and twelve years, as excited the admiration and aftonilhment of all the artifts of 
 that time. He painted not only in oil, but in diftemper, and on glafs ; and was full as 
 eminent for engraving as for painting. After he had been taught the rudiments of the 
 art by his father, he was a difciple of Cornelius Engelbrecht ; in whofe fchool he fo far 
 perfected himfelf, as to be able to follow his profeflion independent on any other. 
 
 His genius exerted itfelf fo early, that, before he was fifteen years of age, he painted 
 the hiftory of St. Hubert, which procured him the greateft imaginable applaufe and 
 honour. His tone of colouring is good, his attitudes (making a reafonable allowance for 
 tl?e ftifF German tafte) are well enough; his figures have a confiderable expreffion in 
 
LEY 
 
 C 36i ] 
 
 LEY 
 
 their faces, and his pictures are very highly finifhed. He endeavoured to proportion the 
 ftrength of his colouring to the different degrees of diftance in which his objects were 
 placed; for in that early time the true principles of perfpedtive were but little known, 
 and the practice of it was much lefs obferved ; as may be evident from the works of 
 Albert Durer himfelf, who did not obferve the rules of it with any tolerable exadtnefs, 
 although he wrote a treatife exprefsly on that fubject. But, as Lucas had no inftrudtor 
 to direct him in the knowledge of that branch, he was confequently incorrect, with 
 regard to the proportional height of his figures to their diftances, and the receding 
 of his other objects, fo as to appear a mannerift. His draperies are abundantly too ftiff; 
 they generally are broken into too many folds ; and in his heads there appears too great 
 a fimilarity, as well as a want of elegance and grace. 
 
 Writers mention a very famous print of this matter's engraving, the fubjedr, of which 
 is a Bag-piper ; and it has been fold for an hundred ducatoons, or about twenty pounds 
 Iferling. In the Town-hall at Leyden, the moft capital picture of Lucas is preferved 
 with great care, the magiftrates having refufed very large fums which have been offered 
 for it. The picture reprefents the Laft Judgment, and it contains a prodigious number 
 of figures. The compofition is good, the female figures are delicately painted, and the 
 carnations have a great deal of truth ; though at the fame time it cannot but be regretted, 
 that he had not a proper tafte to ftudy beautiful nature more effectually. 
 
 N. LEYSSENS. 
 Painted Hj/lory. ' 
 
 DIED I72O, AGED 59. 
 
 He was born at Antwerp, in the year 1661, and went early to Rome, where lie 
 •employed himfelf ftudioufly in obferving thofe admirable works of nature and art, which 
 occur to an artift in that celebrated city and its environs. But although his works were 
 diftinguifhcd by uncommon marks of efteem and commendation, while he refided in Italy, 
 yet he quitted all his profpedts of fame and wealth from a tender impulfe of filial piety. 
 
 His father was poor, and very aged ; and he left Rome from no other motive than to 
 fupport his father, and to render the life of his parent comfortable by his own care and 
 acquifitions. And Providence vifibly feemed to reward the goodnefs of his heart ; for he 
 had more employment than all the painters at Antwerp, and even more of unfolicited 
 work than thofe artifts had who exerted all their intereft, (kill, and induftry, to procure 
 bufinefs. Except it was to attend the duties of his religion, he never abfented himfelf 
 from his feeble parent; he fought for no otheV companion or intimate; and on every 
 occafion always treated him with the moft tender and duteous refpect that it was poffible 
 to cxprefs. 
 
 He. had a good tafte of defighing hiftorical fubjedts ; particularly, he defigned nymphs, 
 boys, ftatues, and buftos, with extraordinary correctnefs, and very agreeable colouring. 
 
 A a a 2 On 
 
L I B 
 
 C 3** ] 
 
 L I B 
 
 On that account he was much employed by Hardime, Boflchaert, and Verbruggen, who- 
 were flower-painters, to adorn their pictures with figures adapted to their fubjects. His 
 merit in his profeflion, and his conduct in domeftic life, were rewarded with univerfal 
 efteem ; and he left behind him the character of being a good painter, and what is 
 frill a more honourable encomium, the character of poflefling a good heart, and exemplary 
 virtue. 
 
 LIB ERA LE Veronese,. 
 Painted Hi/iory. 
 
 DIED I536, AGED 85. 
 
 He was born at Verona, in 145 1, and was a difciple of Vincenzo di Stefano; but he 
 imitated the ftyle and manner of Giacomo Bellini, of Venice. He finifhed his pictures- 
 with exceeding neatnefs and patience, almoft beyond example, fo as to give them the 
 appearance of miniatures > and in moft of his compofitions he defigned a multitude of 
 figures. Vafari mentions one, reprefenting the Adoration of the Magi, confifting of an 
 infinite number of- fmall figures, horfes, dogs, camels, and other animals ; in which the 
 heads were carefully and highly finifhed; the whole looked like miniature, rather than oil 
 painting, and at that time it was wonderfully applauded. 
 
 His principal works are in Verona, where he painted many altar-pieces for the churches^ 
 and a large number of eafel-pictures for the Nobility. A very high commendation is 
 given to a picture of this matter, reprefenting the. Marriage of St. Catherine, in which, 
 the compofition is goods there appears a great deal of grace in the heads, and a natural, 
 delicate exprefiion. 
 
 Pietro LIBER I, called Cava lie re Liber i. 
 
 Painted Hijiory^ 
 
 DIED 1677, AGED 77. 
 
 This mailer was born at Padua, in 1600, and travelled through the principal cities of 
 Italy, to ftudy the works of the moft eminent painters. He had a very enlarged genius, 
 which enabled him to difcern the efTential beauties, and alfo the particular excellencies of 
 every mafter, on whofe works he employed his obfervations. While he refided at Rome, 
 his attention was wholly engroffed by the grand ftyle and compofitions of Raphael; in 
 Parma, he was devoted to Correggio and Mazzuoli ; and at Venice, to Titian and 
 Tintoretto. From thofe different manners, from the beautiful variety perceptible in the 
 works of thofe different artifts, he formed a ftyle of his own, that was full of fpirit, 
 extremely judicious, and confifting of a pleafing mixture of them all; though it muft be 
 at the fame time allowed, that his tone of colouring partook rather too much of the red 
 in fome of his compofitions. 
 
 In 
 
l r c 
 
 t 363 ] 
 
 L I E 
 
 In the Palazzo Zambeccari at Bologna, there is an excellent hiftorical picture, Tuppofod 
 to be the reprefentation of Job ; which is much admired, and mews a mixture of the 
 ftyles of Caravaggio and Calabrefe. In the cathedral church of Vicenza, is alfo an 
 ingenious compofition of the drowning of Pharaoh, which is defigned in a grand llyle, and 
 finely painted ; and in the church of St. Maria Maggiore, at Bergamo, one-of the moll 
 capital performances of Liberi is preferved, of which the fubject is Mofes linking the 
 Rock ; it is much better coloured than thofe which he ufually finiflied for the churches, 
 having lefs of the red tint, and abundance of force, though it is fomewhat incorrect in. 
 the delign. 
 
 Giovanni Antonio LICINIO. Vid. Pordenone. 
 Giulio LICINIO. Vid. Pordenone. 
 
 Jan, or John LIEVENS. 
 
 Painted Hi/lory, and Portrait.- 
 
 He was born in 1607 at Ley-den; and his father, having obferved that he had a natural 
 propenfity to painting, and difcovered fymptoms of genius while he was yet in his 
 infancy, placed him under the direction of Joris Van Schooten. Afterwards he became 
 the difciple of Peter Laftman, with whom he continued for two years; and at the age of 
 twelve he copied two figures of Democritus and Heraclitus, after the paintings of. 
 Cornelius Van Haerlem, which might readily be miftaken for the originals. Principally 
 he employed himfelf in ftudying after nature, and in a fhort time diftinguilhed himfelf 
 greatly, particularly by a portrait of his mother, which he painted at a very early 
 period of his life, and it is defcribed as a wonderful performance. 
 
 Although he was allowed to excel in portrait, yet he frequently painted hiftory, with 
 abundance of fuccefs, among the number of which compofitions, the Continence of 
 Seipio is celebrated in very high terms. Another performance of Lievens, applauded by 
 the poets as well as the artifts of his time, was the reprefentation of a Student in his 
 Library, the figures being as large as life. That picture was purchafed by the Prince 
 of Orange, by whom it was prefented to King Charles I. who exprelTed his furprife at 
 the excellence of the work, efpecially when it was known that the artift was then not 
 above twenty years of age. It proved a means of procuring him a favourable reception 
 at the Court of London, where he had the honour to paint the portraits of the King, the 
 Queen, the Prince of Wales, and a great number of perfons of the firfl rank among the 
 Nobility. 
 
 After a continuance for three years in England, he returned to Antwerp ; and was 
 there incefTantly engaged, either for grand compofitions to adorn the churches, or for 
 fmaller paintings of a fize fit for the cabinets of the lovers of the art. It is obferved, 
 that in the houfe where the council meet at Amfterdam, a picture of Lievens is placed 
 
 between 
 
L I G 
 
 [ 364 ] 
 
 L I N 
 
 between one by Govert Flink, and another by Ferdinand Bolj and yet, notwithftandi ng 
 the merit of thofe mafters, that of Lievens appears in no degree inferior to either of 
 them. By the praife beftowed on two of his pictures they mould feem to be exceed- 
 ingly capital, if we may rely on the cotemporary writers : the one is the hiftory of 
 Abraham offering up Ifaacj the other is the reprefentation of David and Bathfheba. 
 Each of them is a fufficient proof of his genius for compofition, of the fweetnefs of his 
 colouring, and the excellence of his pencil. 
 
 Pirro LI GO RIO. 
 
 Painted Hi/lory. 
 
 DIED 1573, AGED 80. 
 
 He was born at Rome, in 1493, where he became a difciple of Julio Romano; but be 
 was much more eminent as a defigner than as a painter. His defigns of antique 
 buildings, temples, monuments, and trophies, gained him an eftabliflied reputation ; and 
 he left feveral volumes of them, which are at prefent in the pofleflion of the King of 
 Sardinia, and are accounted an invaluable curiofity. He was appointed principal architect 
 to Pope Pius IV. 
 
 Jacopo LIGOZZI. 
 
 Painted Hi/lory and Battles. 
 
 DIED 1627, AGED 84. 
 
 This matter was born in 1543, and learned defign from a Veronefe painter of good 
 efteem, named Giovanni Ermanno. He painted in frefco as well as in oil; in the 
 former, he painted the Triumph of Paulus Emilius, and alfo battles, which he executed 
 in a grand ftyle, and with abundance of fpirit ; and in oil, he finifhed a number of 
 excellent compofitions at Florence, being for many years employed by the Grand Duke; 
 and feveral of the churches and convents of that city are adorned with his performances. 
 
 John LINGLEBACH. 
 
 Painted Battles, Fairs, Sea-ports, and Sea-fights. 
 
 DIED 1687, AGED 62. 
 
 He was born at Frankfort on the Maine, in 1625, and learned the art of painting in 
 Holland ; but he afterwards went to Rome, where he ftudioufly applied himfelf to obferve 
 every thing that was curious in art or nature, as far as he thought it merited his atten- 
 tion ; and he continued at Rome till he was twenty-five years of age. 
 
 His ufual fubjects are fairs, mountebanks, fea profpedls, naval engagements, and 
 landfcapes, which he compofed and executed exceedingly well. His landfcapes are 
 
 2 enriched 
 
LIN [ 365 ] LIN 
 
 enriched with antiquities, ruins, animals, and elegant figures; his fea-fights are full of 
 expreffion, exciting pity and terror ; and all his objects are well defigned. His fkic s 
 are generally light, and thinly clouded, and his management of the aerial perfpective is 
 extremely judicious ; his keeping is ufually good, hisdiftances of a clear bluifh tint; and 
 the whole together is mafterly, producing an agreeable effect. 
 
 In painting figures, or animals, he had uncommon readinefs ; and, on that account, he 
 Was employed by feveral eminent artifts, to adorn their landfcapes with thofe objects; 
 and whatever he inferted in the works of other matters, was always excellently adapted 
 to the fcene and the fubject. His pencil is free, his touch clean and light, and his com- 
 pofitions are in general efteem. It may be obferved, that he was particularly fond of 
 introducing into moft of his compofitions, pieces of architecture, the remains of elegant 
 buildings, or the gates of the fea-port towns of Italy; embelliflied with ftatues, placed \ 
 fometimes on the pediments and cornices, and fometimes in niches. He alfo excelled in 
 reprefenting Italian fairs and markets, inferring in thofe fubjedts abundance of figures, 
 Well grouped and defigned, in attitudes fuitable to their different characters and occupa- 
 tions; and although he often repeated the fame fubjedts, yet the livelinefs of his 
 imagination, and the readinefs of his invention, always enabled him to give them a 
 remarkable variety, either by fountains,, columns, aqueducts, arches, or trophies, which 
 he. had fketched after nature. 
 
 Jan, or John LIN SEN. 
 Painted Hljiory. 
 
 He was a Flemifh mafter of confiderable reputation, • who learned the art of painting 
 in his own country, but completed his ftudies in Italy. His principal performance, is 
 a picture defcribing the action in which he was taken captive by the Rovers of Salee; 
 the figures in that painting are well defigned, , the colouring is pleafing, and it is 
 touched with fpirit. The public had conceived great hopes of this artift ; but he was cut 
 off" unhappily in the vigour of life, by an intimate companion with whom he was gaming, 
 and who happened to be fo exafperated at lofing, that he murdered his friend Linfen on* 
 the fpot.- 
 
 Peter Van LINT. 
 
 Painted Hi/lory and Portrait. 
 
 He was born at Antwerp, in 1609, and while he was yet a youth travelled to Rome, 
 where he ftudied in the academy, and alfo after nature, till he rendered himfelf 
 diftinguiftied as a mafter of confiderable abilities in hiftory and in portrait-painting. 
 The hiftorical fubjedts which he compofed, were taken both from facred and profane 
 writers j and he painted in diftemper, as well as in oil, in a large or fmall fize, with 
 equal merit. For feven years he was retained in the fervice of the Cardinal Bifhop of 
 
 Oftia, 
 
LIN [ 366 ] LIN 
 
 Oftia, and during that time was engaged to work for no other perfon. Some very grand 
 compofitions of this matter are at Oftia, and others in the church of Madonna del Popolo, 
 at Rome. 
 
 After ten years refidence in Italy, he returned to his native city, where he fucceeded 
 to the utmoft of his wifhes; and his works afforded the King of Denmark fo much 
 fatisfaction, that he furnifhcd him with employment for feveral years, and bought up as 
 many pictures of his painting as could poffibly be procured. 
 
 His manner of composition was in the grand ftyle, his defign being correct, and his 
 colouring extremely good. Very few of his works are to be met with ; but one of his 
 moft capital performances is to be feen in the church of the Carmelites at Antwerp. 
 
 Hendrick Van LINT, called Studio. 
 Painted Landfcapes, with Views about Rome. 
 
 This mafter is fuppofed to have been a defcendant of Peter Van Lint, and with great 
 probability his fon. He lived moftly at Rome, andfpent all his leifure hours in ftudying 
 after nature the beautiful fcenes about that city ; the rocks, rivers, villas, cafcades, and 
 landfcapes; which employment ufually engaged him during the fummer, and part of the 
 autumnal months. His paintings gradually rofe into efteem, more particularly by their 
 being true imitations of nature j and, on account of his attention to his improvement, and 
 his remarkable application, he was named Studio by the Bentvogel fociety of artifts at 
 JRome, by which appellation he is even at this day diftinguifhed. 
 
 In one of his fummer excurfions he went to Roncighone, accompanied with another 
 painter, to iketch fome of the charming views about that village. But being obferved 
 by a few ignorant peafants, the painters were fufpected to have fome evil intention ; and 
 by the markings on their paper, which were totally unintelligible to the illiterate fpecta- 
 tors, the two artifts were deemed to be no other than magicians. 
 
 A report of that kind being eagerly fpread about the country, a multitude of people 
 aflembled round them in a fhort time ; and a romantic building, which flood near the 
 extremity of the rock, happening to fall juft at that inftant, the peafants unanimoufly 
 agreed, that it could only have been thrown down by their magical powers ; for which 
 reafon they were feized inftantly, fecured by guards brought thither for that purpofe, 
 and hurried away before the chief magiftrate. But that officer having difcovered the 
 real truth, by minutely examining into the affair, difcharged the two painters, and took 
 care to have them protected from infults ; though the country people perfifted in giving 
 them the moft opprobrious language, continually calling them forcerers, as long as 
 they continued in fight. 
 
 Two pictures of this mafter are in the collection of the Earl of Moira: the one is a 
 perfpective view of the Campo Vaccino; and the other, a view of the ancient Amphi- 
 theatre of Titus, called the CollifTeum. 
 
 John 
 
LIO t 367 3 LIO 
 
 John Stephen L I O T A R D, calk'4 the T u r k, 
 Painted Portraits. 
 
 This extraordinary artift was born at Geneva, in 1702, and by his father was defigned 
 to be brought up to mercantile bufinefs ; but, by the perfuafion of his friends, who 
 obferved the genius of the young man, he was permitted to give himfelf up to the art of 
 painting; and he applied himfelf with fo great diligence to make himfelf entire mafter of 
 defign and colouring, that he became an artift of the higheft diftin&ion. He particularly 
 pra£Hfed to paint in miniature, with crayons, or in enamel ; and in both arrived at a 
 fuperior degree of excellence. He underftood ,the principles of perfpedlive thoroughly, 
 and copied the works of the moft famous artifts in enamel and miniature, with fuch 
 precifion and exa<5tnefs of tint, as well as refemblance, that the mod: fkilful could not 
 know the originals from the copies ; and the experiment was proved by one of the fined; 
 performances of Petitot, which was copied by Liotard. 
 
 He vifited France and Rome; and in the latter city fome Englifh gentlemen, who were 
 competent judges of the art, having feen feveral of his pictures, were fo {truck with the 
 beauty of them, that they invited him to London; a city not more juftly famed for its 
 wealth and commerce, than for munificence and liberality in rewarding every fpecies of 
 merit ; and Liotard fufficiently experienced the truth of this obfervation, while he reflded 
 in England. 
 
 Thofe Englifh gentlemen who favoured him at Rome, intended to travel to Conftanti- 
 nople, and thither Liotard accompanied them ; butitmuft feem very fingular, that on his 
 arrival in the Turkiih dominions, he alTumed the Levantine drefs, and never changed it 
 after his return to Europe, which occafioned his being called the Turk Painter. In his 
 way from Conftantinople, he vifited the Court of Vienna, where he received every 
 public mark of regard and approbation ; and having painted the portraits of the Emperor 
 Francis I. and the Emprefs, he fo effectually obtained the efteem of thofe auguft perfons, 
 that the Emperor ordered him to paint that portrait, which is now placed in the Florentine 
 gallery, among the portraits of the moft illuftrious artifts. In London he had the honour 
 to paint the portaits of the Princefs of Wales, and her family; and at the Hague, thofe 
 of the Stadtholder and his lifter. ( 
 
 He worked in enamel to a fuprifing perfection, and in a fize never attempted by any 
 other ; one of his pictures being above feventeen inches by thirteen. His colouring in 
 crayon, enamel, and miniature, is equally excellent; with an aftonifhing force and 
 beauty of tint, with a ftriking refemblance of his models, a remarkable roundnefs and 
 relief, and an exact imitation of life and nature, in all the fubjecls he painted. 
 
 Bbb 
 
 FlLIPPQ 
 
L I P 
 
 [ 3,68 J 
 
 L I P 
 
 Filippo LIP PI, called the Old. 
 Painted Hi/lory. 
 
 *DIED 1488, AGED 67. 
 
 He was born at Florence, about the year 1421 ; and at the age of fixteen,. being in 
 a convent of Carmelites, he had an opportunity of feeing Mafaccio at work, in painting 
 the chapel of that convent, which infpired him with an eager defire to learn the art. He 
 therefore became a difciple of that mailer, and ftudied defign with inexpreflible aniduity, 
 making fo rapid a progrefs, that he not only pleafed, but furprifed Mafaccio. 
 
 The praifes given him by his friends, as well as his inftrudtor, wrought fo ftrongly on 
 his mind, that he forfook the convent, threw off the habit, and devoted himfelf entirely to 
 the profeflion of painting. He endeavoured to obtain as much inftrudKon as poffible from 
 Mafaccio, and very happily imitated his manner : yet, the courfe of his fludies was for 
 fome time interrupted by an accident which detained him in Barbary for a year and a half j 
 for, while he was amufing himfelf in the company of fome of his friends, on board 
 a Felucca in the Mediterranean, a Corfair, who was cruifing near the fliore, took them 
 all prifoners, and carried them into captivity. But Lippi having one day drawn the 
 portrait of his mafter, with a piece of charcoal, on a wall, the mafter was fo affected 
 with the novelty of the performance, and the exaclnefs of the refemblance, that, after 
 obliging him to paint the portraits of a few other perfons, he generoufly reftored him to 
 his liberty. 
 
 At 
 
 * The dates relative to the birth and age of Lippi are unaccountably erroneous. The Chronological Tables of 
 Mr Harms affert,that he was born in 138 1, and died in 1438, at the age of 57; and at the fame time affirm, that he was 
 the difciple of Mafaccio, who, according to the fame tables, was not born till 1417, and died in 1443. By which com- 
 putation it appears utterly improbable that Lippi, who mult have been 36 years old when Mafaccio was born, could have 
 been a difciple of that mafter J becaufe, fuppofing Mafaccio only 20 years old when capable of painting at the convent, 
 which was the firft opportunity that Lippi had of feeing him at work, Lippi muft then have been 56 years of age, and 
 confequently within one year of his death, which is too abfurd to gain belief. Befides, it is generally agreed that Lippi 
 followed his profeflion for near 30 years. 
 
 De Piles alfo muft appear guilty of an error, in fixing the death of Lippi in 1488, and yet accounting him in that year 
 to be only 57 j for he muft, by that computation, fuppofe him to be born in 1431; and as he allows him to be 16 years old 
 in the convent when he faw Mafaccio painting, that will fix the year when Lippi learned the art of painting, to 1447; 
 which appears to be four years after the death of Mafaccio, who, by the beft accounts, died in 1443 J and therefore that 
 feems impoflible. De Piles alfo miftakes when he fays Lippi was bred up in the convent from the age of eighteen, having 
 been a Monk at fixteen j for he certainly Ihould mean (what Sandrart teftifies) that he was in the convent from the age of 
 eight, till he became a Monk at fixteen. 
 
 But to folve all thefe perplexities, if we fuppofe (what probably is the fact) that Lippi was born in 1421, only four years 
 later than Mafaccio, and then adding the fixteen years of Lippi before he faw Mafaccio painting, it will coincide with the 
 year 1437, at which time the latter was twenty years old ; and as he did not die till 1443, there remained fix years for Lippi 
 to ftudy the art of painting under him; but Lippi, who is allowed to have died in 1488, muft have been 67 at his death, 
 and not 57 according to De Piles. 
 
 I offer this only as a conjecture, and perhaps fome more ingenious perfon may be able to reconcile thefe difficulties in 
 a more judicious manner. 
 
L I P 
 
 t 369 3 
 
 LIP 
 
 At his return to Europe, he went to his native city Florence, and for a confide rable 
 time was employed by the Grand Duke. The merit of his works recommended him, not 
 only to the particular efteem of that Prince, and the Nobility, but alio to the ecclefiaftics, 
 who engaged him for feveral noble compositions, for their churches and convents. It is 
 obferved of Lippi, that he was the firft of the Florentine painters who attempted to defign 
 figures as large as the life; the firft who remarkably diverfified the draperies, or who 
 gave his figures the air of the antiques. 
 
 He was a man of very loofe morals, and deluded a nun to elope with him from the 
 convent ofPrato, where file fat to him as a model for a picture of the Virgin ; and although 
 all his friends feverely reproached him for fuch mifconducl:, yet he afterwards engaged 
 himfelf in another criminal intrigue, for which he was poifoned by the parents of the lady 
 whom he intended to abufe. But other writers fay, that he died of poilbn at Spoleto, from 
 the refentment of a perfon in that city, with whofe wife he held a criminal converfation, 
 while he was employed in painting the altar-piece of the cathedral at Spoleto j the defign 
 of which picture was exceedingly grand, though it was left unfinifhed by the unfortunate 
 death of the artift. 
 
 His colouring was extremely agreeable, and his manner (like that of his mafter Mafaccio) 
 was grand and elegant; his draperies were broad and loofe, and his figures had a compe- 
 tent degree of grace, with a good expreflion. 
 
 Filippo LIPPI, called the Young. 
 Painted Hijiory. 
 
 DIED 1505, AGED 45. 
 
 He was the fon of Filippo Lippi, born at Florence, in 1460, and the difciple of Sandro 
 Boticelli. He had a lively genius, and a good invention; and feveral of his compofitions 
 fhewed a great deal of elegance, with a very pleafing tone of colouring. But his 
 particular excellence confifted in painting the ornaments of architecture, efpecially 
 the friezes, in the true tafte of the antique, with^ a fine understanding) of the chiaro- 
 fcuro. 
 
 Lorenzo LIPPI. 
 
 Painted Hijiory and Portrait* 
 
 died 1664, aged 58. 
 
 He was born in 1606, and learned the principles of painting from Matteo Rofelli. 
 He had an exquifite genius to mufic and poetry, as well as to painting; and in the latter 
 his proficiency was fo remarkably great, that fome of his compofitions in the hiftorical 
 ftyle were taken for thofe of Rofelli. However, at laft he grew diflfatisfied with the 
 
 B b b 2 manner 
 
L 1 S 
 
 t 370 ] 
 
 t I $ 
 
 manner of that matter, and preferably chofe the manner of Santi di Titi, who was excellent 
 both in defign and invention) and appeared to have more of fimple nature and truth in his 
 compofitions, than any other artift of that time. 
 
 At Florence he painted many grand defigns, for the chapels and convents, by which lie 
 enlarged his reputation; and at the Court of Infpruclc, he painted a great number of 
 portraits of the firft Nobility, which were defervedly admired. Yet, although he was fond 
 of imitating fimple nature, without any embelliftiments from invention, his works aro. 
 held in the higheft efteem for the graceful airs of the heads, for the corredtnefs of his out- 
 line, and for the elegant difpofition of the figures. 
 
 John Vander LIS, or L Y S. 
 
 Painted Hi/lory, Landfcapes> and Converfations.. 
 
 DIED 1629, AGED 59. 
 
 He was born at Oldenburgh, in 1570, but went to Haerlem to place himfelf as a difciple 
 under Henry Goltzius; and as he was endowed with great natural talents, he foon 
 diftinguifhed himfelf in that fchool, and imitated the manner of his mafter with great 
 fuccefs, fo as to make it no eafy matter to determine which was the work of the difciple 
 or the mafter. He adhered to the ftyle of Goltzius in the early part of his life, till he went 
 to Italy ; and having vifited Venice and Rome, he ftudied the works of Titian, Tintoretto, 
 Paolo Veronefe, and Domenico Fetti, fo effectually, that he improved his tafte and 
 judgment, and altered his manner entirely. He foon received marks of public approbation ; 
 and his compofitions became univerfally admired for their good expreflion, for their 
 lively and natural colouring, and the fweetnefs and delicacy of his pencil; although it muft 
 be acknowledged that he could never totally diveft himfelf of the ideas and tafte peculiar 
 to the Flemings. 
 
 His fubjec"ts ufually were hiftories taken from the facred writings, or the reprefentation 
 of rural fports, marriages, balls, and villagers danoing, dreffed in Venetian habits; all 
 which fubjects he painted in a fmall as well as a large fize, with a number of figures, 
 well defigned, and touched with a great deal of delicacy. He was likewife accounted to 
 paint naked figures admirably, with natural and elegant attitudes, and a very agreeable 
 turn of the limbs. 
 
 A capital picture of this mafter is, Adam and Eve lamenting the Death of Abel ; 
 it is extremely admired, not only for the expreffion, but alfo for the beauty of the 
 landfcape: and in the church of St. Nicholas, at Venice, is a celebrated painting 
 of John Lis, reprefenting St. Jerom in the Defert, with a pen in his hand, and' his 
 head turned to look at an angel, who is fuppofed to be founding the laft trumpet. 
 The colouring of this picture is rather too red, but it is defigned in a fine ftyle, 
 elegant, and grand, and charmingly penciled. Houbraken alfo mentions a pifture of 
 
 the 
 
US [ 371 J LOI 
 
 the Prodigal Son, to which the only objection that can poflibly be made, is, that the 
 habits are too modern. 
 
 The paintings of this mafter arc very rarely to be purchafed. 
 
 John Vander LIS, of Breda. 
 
 Painted Hijiory. 
 
 He was born at Breda, about the year 1601, and became a difciple of Cornelius Poelem- 
 burg, whofe manner he imitated with extraordinary exactnefs in the tints of his colouring, 
 his neatnefs of pencil, and the choice of his fubjects. There are fome paintings 
 of this matter's hand, which, though they appear to have fomewhat lefs freedom and 
 lightnefs of touch, are nearly equal to thole of Poelemburg, and are frequently taken 
 to be his. 
 
 At Rotterdam, in the poffeflion of Mr. BifTchop, there is a delicate picture reprefenting 
 Diana in the Bath, attended by her nymphs; and his moft capital performance in England 
 is faid to be in the pofleffion of the Vifcount Middleton. The portrait of Vander Lis, 
 painted by himfelf, is' in the pofleffion of Horace Walpole, Efq. which is defcribed by that 
 ingenious gentleman, as being worked up equal to the fmoothnefs of enamel. 
 
 Nicholas LOIR. 
 Painted Hijiory and Landfcape* . 
 
 DIED 1679, AGED 55. 
 
 He was born at Paris, in 1624, and, according to feveral writers, was a difciple of Le 
 Sueur; though, according to the Chronological Tables, he is faid to have been the difciple 
 of Le Brun. 
 
 He wanted neither genius to invent, nor fire to execute, and yet he had nothing above 
 a moderate artift. Nothing can be obfef ved in his compohtions that looks like fublimity 
 of thought, nor any particular character that had much elevation. He compofed indeed 
 with readinefs, he had a good tafte of defign, his pictures were neatly handled, and he 
 difpofed his figures agreeably; but he fo far wanted attention, that he fcarce had produced 
 any one thought, but he executed it as expeditioufly as it entered into his mind, without 
 allowing himfelf time to digeft it. And that method he purfued, not only, by means of 
 a habit which he had acquired, but alfo by a retentive memory, whiqh could readily recall 
 the images of thofe objects which he had feen in Italy, where he had for : fome time refided. 
 Every part of his fubjects was equally well painted,, figures, landfcape, architec- 
 ture, and ornaments; and he particularly excelled in defigning women and boys. He 
 was employed by Lewis XIV. at Verfailles, and the Tuilleries, and died Profeflbr of 
 the Academy. 
 
 Giovanni 
 
L O M 
 
 C 37 2 3 
 
 L O M 
 
 Giovanni Paolo LOMAZZO. 
 
 Painted Hijlory^ Land/cape, and Portrait. 
 
 This matter was born at Milan, in *I558, and learned defign from Giovanni Battifta 
 della Cerva. He rofe to great eminence in his profeffion, for compofing hiftorical 
 fubjects, and was accounted full as excellent for landfcape and portrait painting; but he 
 rendered himfelf ftill more eminent, by his ingenious treatifes on the arts of painting and 
 architecture; by which he has happily contributed to refine the tafte of future artifts, to 
 improve the knowledge of the profeflbrs of thofe arts, and to promote, in a very high 
 degree, the honour of the art itfelf. 
 
 Lambert LOMBARD, or Suavius. 
 Painted Hi/lory, Architecture-^ and P erfpeclive. 
 
 DIED I560, AGED 60. 
 
 He was born at Liege, in the year 1500; and having obtained fome inftructions as to 
 the rudiments of the art, in his own country, he travelled to Rome, and (as fome writers 
 affirm) became the difciple of Andrea del Sartb. To the utmoft of his ability, he ftudied 
 every thing that could conduce to his improvement, not only in painting, but in per- 
 fpective and architecture j and to thofe branches of knowledge he added a diligent ftudy 
 of the antique. 
 
 When he returned to Liege, he introduced a ftyle of painting among his countrymen, 
 very different from that to which they had before been accuftomed; he taught them 
 a better tafte of defign, by fubftituting the antique inftead of the Gothic; and enabled 
 them to diftinguifh the fimplicity and elegance of the one, when compared with the dry, 
 unnatural ftiffhefs of the other. But although he defigned well, and was tolerably 
 correct, and had his mind filled with the images of thofe beautiful objects which he had 
 ftudied in Italy, yet could he never thoroughly make off his national gout; and his own 
 works partook a great deal of that fame dry ftiffhefs, of which he difapproved in the 
 performances of others. 
 
 However, he is ranked among the beft painters of his time, by all the writers on this 
 fubject; and a Laft Supper of his painting is exceedingly commended, as being very 
 defervedly eftimable for the defign, and alfo for having an admirable effect. 
 
 Sandrart cenfures Van Mander for reprefenting Lambert Lombard, and Lambert 
 Suavius, as two different perfons; and he affirms that the defcriptions applied to each, can 
 only agree with one and the fame artift. 
 
 Alessandro 
 
 * The writer of the Chronological Tables fixes the birth of Lomazzo in 1538, contrary to moft authors on 
 
 the fubjecl. 
 
 5 
 
LON 
 
 C 373 ] 
 
 LOR 
 
 Alessandro LON I. 
 Painted Hijiory. 
 
 DIED 1702, AGED 47. 
 
 He was born at Florence, in 1655, and was a difciple of Carlo Dolce, whofe ftyle he 
 imitated in the neatnefs and the high finifhing of his works. He was employed, and 
 exceedingly favoured, by the Grand Duke of Tufcany, who retained him in his fervice 
 for feveral years ; and among the celebrated paintings of the Florentine collection, there 
 is a picture of this matter's hand, which, although of a very fmall fize, contains near an 
 hundred figures, all well difpofed, judicioufly grouped, and moft delicately penciled and 
 coloured. 
 
 Theodore Van LOON. 
 Painted Hijiory and Portrait. . 
 
 This artift was born at Bruffels, in 1630, according to the teftimony of fome writers ; 
 and according to others, he was born at Louvain. He ftudied in Italy for fome years, 
 and many of the hiftorical pictures of his painting are ftill preferved in the churches and 
 palaces at Rome and Venice. He happened to be intimately connected with Carlo 
 Maratti, and was peculiarly fond of his manner ; they drew after the works of Raphael 
 with an amicable competition, from whence each of them acquired thofe beauties which 
 appear in their compofitions. 
 
 All the works of Van Loon are much in the ftyle and manner of Maratti ; the fame 
 tafte of defign, the fame dignity in portraits, the fame elevation of thought in compofition 
 is obfervable in both; and through the whole, the fchool of Italy is particularly diftinguifhed. 
 His colouring is generally good, though not equal to the fweetnefs of Carlo's ; for fome- 
 times it was too black, and the fhadows were frequently too hard and heavy. 
 
 Two Very capital pictures by this mailer are in a church at Mechlin; the fubject of one 
 is, the Wife Men offering gold, frankincenfe, and myrrh ; and that of the other is, the 
 Salutation of the Virgin. 
 
 LORRAINE. Vid. Claude. 
 
 Ambrogio LORENZETTI. 
 
 Painted Landfcape and Hijiory. 
 
 died 1350, aged 83. 
 
 This ancient mafter was born at Siena, in 1267, and was a difciple of Giotto. He 
 principally painted in frefco, and gained a very high reputation for the fkilful management 
 of his colours, and for the grandeur of his tafte in compofition ; in which there appeared 
 
 fomewhat 
 
LOT C 374 3 LOT 
 
 fomewhat noble and elegant, united with eafe and freedom, Vafari mentions him as the 
 nrft who attempted to defcribe in landfcapes, ftorms of wind, tempefts, and rain ; and 
 yet he represented them with the greater! fuccefs. His imagination was lively, his 
 manner of difpofing the figures in his compofition was with judgment and propriety, 
 and his invention was ready. For the moft part he painted in a large fize; but fometimes 
 he painted in fmall, like that hiftory of St. Nicholas which he painted in a chapel at 
 Florence. By that work he acquired infinite applaufe, not only for the beauty of the 
 performance, but alfo for the fhortnefs of the time that he employed in the finifliing of it. 
 
 He had a fine tafte for polite literature ; and was equally efteemed for his learning, 
 and his abilities in painting. It is reported that he finifhed thirteen hundred pictures 
 before his death. 
 
 John L O T E N. 
 
 'Painted Landfcape. 
 
 DIED l68l. 
 
 This painter was born in Switzerland, but lived for many years in England, and died 
 in London : by fome writers, however, he is accounted a native of Holland. He was a 
 landfcape-painter of confiderable rank; and as he always ftudied after nature, he often 
 had great fuccefs in the romantic beauty, as well as in the variety of the fcenes which he 
 painted. 
 
 His tafte induced him to defcribe rocks that were craggy, folemn, and dreary ; cataracts 
 and torrents dafhing and foaming with the impetuoiity of their fall; and land-ftorms 
 attended with rain, in which he peculiarly excelled. Sometimes he reprefented lawns 
 diverfified with groves, in which he rarely omitted the oak tree, that is fo much the 
 the ornament of the woods and the forefts of England; and thofe fubjects alfo he painted 
 with truth, nature, and force. But the effect of his compofitions had been much greater, 
 if he had been lefs cold in his colouring; for a judicious eye cannot but be offended at that 
 blackifh tint which predominates throug"h all the works of this artift. 
 
 His touch is free and fpirited, and the maffes of light and fhadow in his pictures are 
 well underftood. Moft commonly he painted in a large fize ; frequently introducing 
 thofe fcenes which pleafed his imagination while he lived in Switzerland, and he always 
 executed them extremely well. 
 
 Carlo LOT'I, or LOTH, Cavaliere. 
 
 Painted Hijicry and Portrait. 
 
 DIED 1698, AGED 87. 
 
 He was born at Munich, in 1611, the fon of John Ulrick Loth, a painter who had 
 ftudied under an Italian mafter, and imitated Carlo Vtnetiano. That artift devoted his 
 
 fon 
 
L O T 
 
 C 375 ] 
 
 LOT 
 
 Con to his own profefiion, and taught him the firft principles of defign ; but afterwards placed 
 him under the direction of Cavaliere Pietro Liberi, a very celebrated mafter at Venice. 
 In that fchool Carlo continued for fome years ; yet he did not entirely adopt the manner of 
 Liberi," but attained to a ftyle that was more bold, with a more natural and delicate 
 expreflion of the naked, and, in a fliort fpace of time, diftinguifhed himfelf by a noble 
 invention, by the correctnefs of his defign, and by a degree of grace diffufed through 
 his compofitions. 
 
 The principal perfons in Venice employed him for hiftorical fubje&s; and the Emperor 
 Leopold I. folicited him to vilit Vienna, where he was received with uncommon marks 
 of favour, fuitable to his extraordinary merit. He painted the portrait of the Emperor 
 in an admirable ftyle, which procured him the honour of performing feveral others for all 
 the Imperial family, and the. Nobility of the higheft rank. He was likewife employed, 
 during his refidence at Vienna, to paint hiftorical fubjects for the palaces and cabinets of 
 the moft illuftrious perfons ; fome of thofe fubjecls being taken not only from the facred 
 writings, but alfo from fabulous or poetic hiftory. 
 
 In the church of the leffer hofpital at Venice, there is a picture of Carlo Loti's, repre- 
 fenting a dead Chrift. It is a beautiful performance, well defigned, in a broad manner, 
 and the heads are excellent; but the colouring is a little too red. In another church 
 is to be feen a St. Jofeph, which is finely compofed and well grouped, all the parts of it 
 being exceedingly delicate; and the colouring is ftrong and agreeable. Alfo in the church 
 of St. Chryfoftom, there is a noble painting, reprefenting the death of St. Jofeph, which, 
 although perhaps a little too dark, is neverthelefs well coloured ; the compofition and 
 defign are extremely good, and the heads and expreflion remarkably fine. 
 
 Lorenzo LOTTO. 
 Painted Hiftory and Portrait. 
 
 DIED 1544, AGED 36. 
 
 He was born at Bergamo, in 1508; the companion and intimate friend of Giacomo 
 Palma; and he fomewhat refembled that mafter in his ftyle. At firft he ftudied and 
 imitated the manner of Giovanni Bellini ; but having afterwards feen the works of 
 Giorgione, he was fo filled with admiration, that he immediately adopted that ftyle, and 
 devoted himfelf to imitate that great painter as long as he lived. 
 
 He not only excelled in hiftory, but likewife in portraits; of which feveral are preferved 
 in Venice, that are much admired. Two of them are mentioned by Vafari ; the one, a 
 portrait of Andrea Adoni, the other of Marco Loredano, which he introduced in a fine 
 compofition of a Nativity, illumined by a glory proceeding from the child; and Loredano 
 was reprefented as a whole figure, adoring the infant Saviour. 
 
 A capital painting of Lotto is in the Carmelites church at Venice. It reprefents 
 -St. Nicholas in the pontifical habit, elevated in the air, fupported in the clouds by three 
 
 C c c angels, 
 
LUB 
 
 r 376 ] 
 
 l U I 
 
 angels, and attended by other faints. Below is a very beautiful landfcape, with a number 
 of figures, and different kinds of animals, asalfo the defcription of St. George combating 
 with the Dragon. 
 
 Theodore LUBIENETZKI, 
 
 Painted Hijiory and Portrait. 
 
 DIED I716, AGED 63. 
 
 He was born at Cracow, in 1653, of a noble family in Poland, and learned the art of 
 painting more as an accomplifhment, than from any view of making an advantage of the: 
 profeilion. He was taught defign by Jurian Stur of Hamburgh, and at the fame time his- 
 brother Chriftopher was inftru&ed by the fame mafter. When he had gained fome know- 
 ledge of the art under Jurian, he went to Amfterdam, to place himfelf under the direction 
 of Gerard LairefTe; and foon imitated that artift fo happily, that the ideas, the colouring, 
 and the pencil of the mafter, were evidently feen in the compofitions of the difciple. 
 
 After fome years continuance in the Low Countries, he viftted feveral parts of Italy, 
 and was invited to.Florence by the Grand Duke; where he was employed for a confiderable 
 time by that Prince, and received many extraordinary marks of honour and efteem at that 
 Court, as he afterwards did at the Court of Brandenburgh ; till at laft he returned to his 
 native country, where he lived in high reputation, and his works were univerfally 
 admired* 
 
 Christopher LUBIENETZKI. 
 
 Painted Hi/lory and Portrait. 
 
 He was a younger brother of Theodore, born at Stettin, in 1659, but inftructed at 
 firft by Jurian Stur ; yet he went along with his brother to Amfterdam, and there chofe 
 Adrian Bakker for his mafter. He continued at Amfterdam to follow his profeffion, and 
 roie into very great credit j the hiftorical pictures of his hand being extremely commended 
 for good invention and compofition, for corre&nefs of defign, and in general for an 
 agreeable tone of colouring. It is remarked that his portraits would have been fufficient 
 to eftablifh his reputation and fortune,, even if he had not been fo defervedly diftinguiflied 
 as a painter of hiftory. 
 
 Jan LUIKEN. 
 Painted Hiftory. 
 DIED 1712, AGED 63. 
 
 He was born in 1649, and learned defign and colouring under Martin Zaagmooleii. 
 He painted hiftorical fubje&s with fuccefs, and introduced a great number of figures in 
 all his compofitions, to which he gave more expreflion tlian grace ; but his paintings are 
 
 rarely 
 
L U T 
 
 [ 377 1 
 
 L U T 
 
 rarely to be met with in thefe kingdoms, though, where they are feen, they are in good 
 efteem. 
 
 As he had a ready invention, he was much folicited to defign hiftorical fubje&s for 
 engravers, and he compofed moft of the fcriptural ftories which are published in the 
 Jewifh and Mofaical antiquities. Some of his own engravings are to be feen in feveral 
 other books, and his application to that bufmefs caufed him to difcontinue his painting. 
 
 Henry LUTTERELL, 
 
 Painted Portraits with Crayons, 
 
 He was the difciple of Edmond Afhfield, but arrived at fuch a degree of excellence 
 in painting with crayons, that he very far furpaffed his mafterj and evenalmoft equalled 
 Holbein in that manner of painting, according to the opinion of good judges of the art. 
 He found out a method, before unknown, of drawing portraits with crayons on copper, 
 and touched every part of his fubject with fo much foftnefs, as well as fpirit, that in 
 many of his pictures might be feen a freedom of touch, like fine penciling in oil. 
 
 A great part of his life was fpent in Dublin, where his paintings were exceedingly 
 admired, though he was not encouraged in any degree equal to his merit j but he went 
 afterwards London, where he had the good fortune to be raifed to affluent circumftances, 
 to which his merit in his profeflion had entitled him long before. 
 
 Benedetto LUTI, called Cavaliere LUTL 
 Painted Hijtory. 
 DIED I724, AGED 58. 
 
 This eminent painter was born at Florence, in 1666, of parents who were but in low 
 circumftances ; yet, directed by his natural genius to painting, he amufed himfelf with 
 drawing and defigning, and became fo expert without any inftruclor, that his performances 
 appeared furprifing to feveral of the artifts of his native city. Some of his defigns having 
 accidentally fallen under the obfervation of that celebrated painter Antonio Domenico 
 Gabbiani, he foon difcerned the ftrength of the genius and talents of Luti, and afked him 
 if he was defirous to become a painter ? The young man anfwering, that it was the 
 utmoft of his ambition, Gabbiani took him as his difciple j and alfo recommended him to 
 a Nobleman, who readily became his patron, and maintained him while he purfued his 
 ftudies. 
 
 By the care and inftrudlions of Gabbiani, and by his own inexpreflible application, 
 the young artift made a very great progrefs; devoting all his hours to ftudy, and 
 difcourfing with his 'mafter on fuch points as might beft promote his knowledge of the 
 true principles of his art. He was likewife induftrious to accuftom his eye and his judg- 
 ment readily to diftinguifli what was moft commendable in the tafte and ftyle of every 
 
 C c c 2 different 
 
L U T 
 
 f 378 ] 
 
 L U T 
 
 different matter. So difcreet a method of conducting his ftudies, was attended with: 
 proportionable improvement; and as foon as he was qualified to commence artift, that 
 the public had an opportunity of examining his productions, he received the higheft 
 applaufe from the judicious, for the elegance of his defign, for the fine tafte and flail 
 that appeared in all his compofitions, and for the management of the chiaro-fcuro. 
 
 The two firft pictures which he offered to the public inspection, and which laid the 
 foundation of his future fuccefs, were a Bacchanal and an Endymion, as large as life ; 
 and by the encouragement given him for thofe firft productions, he laboured the more 
 affiduoufly to arrive at perfection, till he formed to himfelf a grand ftyle and manner, 
 capable of giving equal entertainment to the eye and the underftanding. 
 
 When he was in his twenty-fifth year he went to Rome, where he critically ftudied 
 the works of the moft famous among the ancients and moderns; and- afterwards painted, 
 in a large fize, the death of Abel. That picture was exhibited to public view on the 
 feftival of St, Bartholomew; it was univerfally commended by the moft able connoifTeurs 
 at Rome, and it effectually eftablifhed his reputation. By order of the Pope he was 
 appointed to paint the picture of the Prophet Ifaiah, in the church, of St. John Lateran ; 
 and at Rome he alfo finifhed a grand defign, reprefenting Mary Magdalen anointing the 
 feet of Chrift, in the houfe of Simon the Pharafee ; which, in the opinion of unpre- 
 judiced judges, had correctnefs in the defign, harmony and beauty in the colouring, variety 
 in the attitudes and airs of the heads, and an expreflion of the pafiions that was elegant 
 and juft. 
 
 His works were exceedingly coveted, and purchafed at high prices by perfons of tafte 
 through all parts of Europe ; and as a particular mark of diftinction, on account of his 
 merit, the Elector of Mentz conferred on him the order of knighthood, and, along with 
 this diploma, fent him a crofs enriched with diamonds. 
 
 In painting with crayons he had an uncommon degree of excellence, and in that kind 
 pf colouring he executed feveral defigns with a force and delicacy equal to his paintings 
 in oil. In that manner he alfo painted landfcapes, with moft agreeable and lovely views, 
 in which he fhewed fuch exquifite tafte, and fuch a freedom of touch, that it feemed as 
 if he had devoted his whole practice only to that particular kind of painting. 
 
 It is remarked of him, that he never appeared fatisfied with his works ; yet, though he 
 often retouched his pictures, there is nothing that looks like labour ; he always changed 
 for the better, he improved what he altered, and his laft thoughts were always the beft. 
 His manner is tender and delicate; his defigns are well confidered, and have an excellent 
 tafte, with a great deal of union and harmony in the colouring ; but, as he made it his 
 peculiar ftudy to excel in colouring, he was not always as correct as could be wifhed. 
 
M A A 
 
 E 379 ] 
 
 M A A 
 
 M. 
 
 Dirk M A A S. 
 
 Painted Landfcapes and Battles. 
 
 H 
 
 E was born at Haerlem, in 1656, and at firft was a difciple of Hendrick Mommers, 
 who commonly painted Italiait markets, and particularly excelled in the ftill life which he 
 introduced, fuch as herbs, roots, fruit, and plants* But, after fome time fpent in 
 praclifing under that mafter, he difliked that manner, and thofe kind of fubjects ; and 
 therefore placed himfelf as a difciple with Nicholas Berchem, the belt artift of his time,, 
 with whofe ftyle he was particularly delighted. 
 
 It was thought he might have made a confiderable figure in the manner of Berchem, if his 
 attention to it had not been withdrawn, by his feeing fome of the works of Hugtenburg, 
 which infpired him with a deiire to imitate him j and from that time he gave himfelf up 
 entirely to paint battles, chaces, and fuch procefiions as were attended with cavalcades 
 of horfe. He ftudied thofe animals after nature j and with exceeding care obferved all 
 their motions, actions, and different attitudes, till he defigned them with great readinefs, 
 and with fuch a character of truth, that he gained the reputation of being a good painter., 
 in that particular ftyle. 
 
 Arnold Van MAAS. 
 
 Painted Converfations. 
 
 He was born at Gouda, about the year 1620, and became a difciple of David Teniers^ 
 from whom he acquired the art of imitating fimple nature. The meetings, dances, 
 weddings, and converfations of villagers and boors, are his general fubje&s, which he 
 executed with fpirit and humour. But, having an earneft defne to improve his tafte, he 
 travelled to Italy, and ftudied there profitably for fome years ; though he reaped no great 
 advantage from his labours or abilities ; for, before he could enjoy the fruits of his ftudy, 
 application, and fingular merit, he died on his journey, returning to his own country* 
 However, a great number of his drawings and defigns are ftill preferved in the collec- 
 tions of the curious. 
 
 Nicholas MAAS*. 
 Painted Portrait. 
 
 DIED 1693, AGED 6 1.. 
 
 He was born at Dort, in 1632, and inftructed in the fchool of Rembrandt ; yet he foon- 
 quitted the manner, when he quitted the academy of that eminent mafter j for he found 
 
 tha 
 
M A A 
 
 r 380 ] 
 
 MAB 
 
 the ladies of his time were too delicate to approve of the dark ftyle of Rembrandt's 
 colouring in their portraits, although it had abundance of force. He had a ready 
 pencil, and a very fpirited touch, which proved to be very advantageous to him in 
 portrait-painting, to which he confined his genius and his hand; and in that way he 
 was fo very fuccefsful, that it was doubted whether any other painter in that ftyle was 
 ever more fortunate in hitting a likenefs. He was continually employed, and his 
 work was fo earneftly folicited, that it was accounted a favour to procure a portrait 
 painted by him. 
 
 It is recorded of this mailer, that happening one day to pay a vifit to Jordaens, in 
 order to take a view of his paintings ; and being exceedingly ftruck with the beauty of 
 them, Jordaens addrefling Maas, afked him what were the fubjecls he painted ? Maas, in 
 a little confufion, anfwered, that he was a painter of portraits. To which the other 
 replied, I pity you moft fincerely, brother artift, for being a martyr to that ftyle of 
 painting j where, let your merit be ever fo great, you are condemned to fuffer the whim, 
 the folly, the impertinence, as well as the ignorance, of fuch a number of both fexes. 
 
 M A A T. Vid. Blanckhoff. 
 
 John de MABUSE, or MABEUGE. 
 
 Painted Portrait and Hijlory. 
 
 DIED I562, AGED 63. 
 
 He was born at Maubeuge, a village in Hainault, in 1499, though in the Chronological 
 Tables his birth is fuppofed to have been in 1492. It is not mentioned by any author, 
 from what mafter he derived his knowledge of the art of painting; but, in his youth, he 
 was laborious in his practice* and his principal ftudies were after nature, by which he 
 acquired a great deal of truth in his compofitions. To improve himfelf in his profeffion, 
 he travelled to Italy, and became an artift of great repute in his time; and it is 
 mentioned to his honour, that at his return to his own country, he was the firft who 
 fhewed the Flemifh mafters how to treat hiftorical and allegorical fubjects in their 
 compofitions, and alfo the art of reprefenting the naked in their figures, which before his 
 time had never been practifed. 
 
 He had a good pencil, and finiflied his pictures highly, with great care ; yet, notwith- 
 ftanding his ftudies in Italy, and the correctnefs of his defign, he never could arrive at 
 the elegance of the Roman fchool. His manner was dry, ftiff, and laboured ; but he was 
 exceedingly induftrious to give a polifhed fmoothnefs to his colouring. 
 
 By King Henry VIII. of England he was employed to paint the portraits of fome of 
 his children, which gained him great reputation, as he finiflied them delicately, and gave 
 them fpirit and livelinefs ; and he painted feveral others for the Nobility who attended 
 the Court at London. 
 
 Many 
 
MAD 
 
 C 381 ] 
 
 MAE 
 
 Many excellent works of Mabufe are at Middleburg j but one of the moft capital is 
 the altar-piece of the great church, reprefenting the Defcent from the Crofs. That 
 picture had been fo highly commended, that it raifed the curiofity of Albert Durer; and 
 he took a journey to Middleburg, merely to be an eye-witnefs of the merit of that 
 performance. He viewed it with lingular attention, and expreffed the pleafure it afforded 
 him, by the praife he beftowed upon it. But the picture which is accounted to excel 
 all his other productions, is the Virgin with the infant Jefus, which he finifhed while he 
 was retained in the fervice of the Marquis of Verenj and in that fubject he contrived to 
 pay an extraordinary compliment to his patron, by making the heads of his lady and fon 
 the models for the heads of his figures. 
 
 He is cenfured by* all writers for his immoderate love of drinking ; and it is confidently 
 faid, that having received, by order of the Marquis, a. piece of brocade for a drefs, to 
 appear in before the Emperor Charles V- he fold it at a. tavern, and painted a paper fuit 
 fo exceedingly like it, that the Emperor could not be convinced of the deception, till he- 
 felt the paper, and examined every part of it with his own hands. 
 
 Michael MADDERSTEG. 
 
 Painted Sea Pieces* 
 DIED I709, AGED 50. 
 
 He was born at Amfterdam, in 1659, and was a difciple of Ludolph Backhuyfen, whole 
 manner he imitated with extraordinary fuccefs, and proved one of the beft artifts of that 
 fchool, according to the teiKmony of Houbraken. He fpent a great part of his life at 
 the Court of Berlin j and raoft of his works are in that city, or in- other parts of 
 Germany where he happened to be engaged. 
 
 Godfrey MAES.. 
 Painted Hijiory.. 
 
 He was born- at Antwerp^ in 1660, and inftructed in the art of painting by his father. 
 But,, as foon as he was capable of farther improvement, he copied and ftudied the raoft 
 capital paintings in the churches and cabinets of Antwerp, to which he was permitted to 
 have free accefs; and he likewife ftudied after nature with equal amduity and care. He 
 made feveral grand defigns for tapeftries at Brufiels, which were filled with figures 
 correctly drawn, well coloured, and with a good expreflion ; which gained him fo much 
 credit, that he was confidered even as a competitor with Rubens. 
 
 The works of this mafter were highly efteemed; and he was not only conftantly 
 employed for the churches, and for the palaces of the Nobility, but he was alfo engaged 
 to work for feveral foreign Princes ; and on account of his uncommon talents, was 
 appointed Director of the Academy at Antwerp, in 1682. In the parifh church of 
 
 2 St, 
 
M A G 
 
 [ 382 J 
 
 M A L 
 
 St. George, he painted the hiftory of the martyrdom of that Saint, for the great altar-piece, 
 which is accounted a noble compofition, and fufficient to perpetuate his name among the 
 ableft artifts. For painting hiftorical fubjecls, he was as eminent as any of his cotempo- 
 raries ; he drefTed the heads of his figures elegantly, and was alfo a nice obferver of the 
 coftume. His back-grounds were enriched with architecture, landscapes, and the veftiges 
 of ancient magnificence; his draperies are fimple, well caft, and in broad -folds; his 
 touch was extremely frde and firm, and his colouring was very good. 
 
 . Giovanni Battista MAGANZA, called Giovanni. 
 
 Painted Hi/lory. 
 
 DIED 1617, AGED 40. 
 
 He was born at Vincenza, in 1577, and was the fon and difciple of Aleflandro 
 Maganza, who had been bred in the fchopl of Titian. By the precepts, the care, and the 
 example of his father, he proved a remarkable good colourift, and alfo a very correct: 
 defigner ; by which accomplifhments, he was well qualified to be a mafterly afliftant to 
 Aleflandro, and, in con}unc"Hon with him, painted feveral grand altar-pieces at Vincenza, 
 Padua, and other cities of Italy. At the former, two of his paintings are particularly 
 noticed, which, though commendable for the compofition and defign, yet, at this day, 
 through the injuries of time, they appear but weak in the colouring. 
 
 M a 1 t r e R O U X. Vid. Rosso. 
 
 VlNCENTIO MALO. 
 
 Painted Hijlory and Converfations*, 
 AGED 45. 
 
 He was at firft a difciple of David Teniers, but afterwards he received confiderable 
 improvement from the inftruclion of Rubens. Under the guidance of thofe eminent 
 artifts, he acquired a tint of colouring that was exceedingly beautiful, which recom- 
 mended bis works to all the lovers of the art ; and at Genoa, Florence, Rome, and other 
 parts of Italy, his performances rofe into fo high a degree of efteem, that fcarce any 
 cabinet of the curious was without fomewhat of his hand. 
 
 MALTESE. 
 
 Painted Still Life. 
 
 No particulars relative to the birth, the country, or the inftructor of this mafter, are 
 mentioned by Sandrart, or any of the biographers; but the fubjecls which he painted, 
 were fruit, jewels, fhells, or mufical inftruments, placed upon tables covered with rich 
 
 carpets, 
 
M A N 
 
 [ 383 J 
 
 M A N 
 
 «arpets, or tapeftry ; and as he underftood the chiaro-fcuro thoroughly, he gives every 
 object a roundnefs and relief that is wonderfully ftrong, by a judicious diftribution of 
 the maffes of light and fliadow. 
 
 His touch is bold and free, and his tone of colouring natural} but many of his compo- 
 fitions appear crowded and encumbered ; nor has he always the moft agreeable choice and 
 difpofition. As to his penciling, the manner of it was very particular ; for, in the carpets 
 which he painted, he left the touchings as rough almoft as the real carpets ; but his work 
 had generally a very ftriking effect, and was excellent in its kind. 
 
 Cornelius de MAN, or d e M A A N. 
 
 Painted Hijlory, Converfatians, and Portrait* 
 
 DIED I706, AGED 85. 
 
 He was born at Delft, in 1621 ; and having learned the principles of the art in his 
 cwn country, he determined to improve himfelf in 'Ms profeffion by travelling to Italy. In 
 his progrefs he palTed through Paris, directing his courfe to Florence; and in that city 
 he was detained for two years, being importuned to work there, for a nobleman of the 
 firft rank. But, as foon as he arrived at Rome, he diligently fought out the moft 
 celebrated paintings, -and ftudied them without intermimon, being folicitous to obtain a 
 good tafte of defign. To perfect himfelf in colouring, he went afterwards to Venice, 
 to ftudy the works of Titian; and he there procured fo good a reputation, that he found 
 fufficient inducements to continue in that city for fome years. 
 
 After an abfence of nine years from Delft, he returned, with many accomplifhments, 
 to follow his profeffion; and gave fuch inconteftable proofs of his merit, that he received 
 all poffible encouragement and approbation. In the great hall of the Phyficians and 
 Surgeons at Delft, he, painted one picture, which is accounted equal almoft to any 
 mafter of the firft rank. The fubject of it is, a reprefentation of the portraits of thofe 
 Doctors and Surgeons who were the moft eminent of that time, dHpofed in thehiftorical 
 ftyle. It is much in the manner of Titian, and is at this day efteemed an admirable 
 model for all painters of portrait. 
 
 Silvester MANAIGO. 
 
 Painted Hiftory. 
 
 This mafter was excellent in compofition and defign, having ftudied with abundance 
 of attention not only the antique, but nature alfo, with a very intelligent obfervation. 
 His figures were generally very correct and well grouped, and many of his characters 
 have a juft and ftrong expreifion, with confiderable grace. 
 
 The extenfive genius of this painter may readily be eftimated by one hiftorical 
 compofition, of which the fubject is Jofeph fold by his brethren. In that defign the 
 characters are marked with a great deal of judgment: the dejection of Jofeph is apparent 
 
 D d d at 
 
MAN C 3*4 3 MAN 
 
 at the firft view > but the expreffion of the figure Handing behind Jofeph, by which the 
 artift certainly intended either Reuben or Judah, is true nature, and worthy of the 
 greateft painter. There is a print after that painting, and the original is in the poffeflion 
 of Giufeppe Pedrini, at Venice. 
 
 In the church of St. Felix, in the fame city, is to be feen a capital defign of Manaigo, 
 reprefenting the buyers and fellers in the Temple, driven away by our Saviour, and it is 
 extremely admired : alfo in the church of St. Euftachius is the picture of St. Matthew? 
 which is painted in a very grand ftyle, though the colouring is rather too grey. 
 
 Rutilio MANETTI. 
 Painted Hi/lory. 
 DIED 1639, AGED 68. 
 
 He was born at Siena, in 157 1, and educated in the celebrated fchool of Francefco 
 Vanni, in that city. For feveral years he exerted himfelf to imitate the manner of his 
 mafter; and at laft fucceeded fo happily, as to refemble him ftrongly in his colouring and 
 graceful ideas j but his manner of penciling was different. 
 
 He painted excellently in frefco, as well as in oil j and his works were fo highly 
 efteemed in Florence and Pifa, that few of their chapels were without fome of his 
 performances. He was allowed to have a fine invention, an elegant difpofition of his 
 figures, and a great deal of grace, improved by a pleafing tone of colour. 
 
 Bartolomeo MANFREDI. 
 
 Painted Hijiory-, and Soldiers playing at Cards. 
 
 He was born at Mantua, in 1574, and at firft was a difciple of Pomerancioj but 
 afterwards being exceflively delighted with the ftyle of Caravaggio, he became a difciple 
 of that mafter j and, by the practice of a few years, imitated his manner with fuch exact- 
 nefs, that fome of the paintings of Manfredi were taken for the work of Caravaggio. 
 
 His moft frequent fubjects were corps de garde, foldiers, or peafants, gaming with 
 gards and dice, or fortune-tellers j ufually painting his figures as large as life, no lower 
 than the middle, in imitation of the tafte and manner of defigning obfervable in 
 Caravaggio. 
 
 He had a free, firm pencil ; his colouring had a great deal of force and his extenfive 
 Ikill in the principles of the chiaro-fcuro enabled him to give his pictures a ftriking 
 effect, by broad maffes of light and fhadow ; though fometimes his colouring appears 
 rather too black in particular parts. The beft judges of painting in his time had 
 formed the higheft expectations of his becoming an admirable artift j but Manfredi 
 fliortened his days, by a diffolute and irregular life; and as he died young, his paintings 
 are exceedingly fcarce, and rarely to be feen or purchafed. The moft capital picture of 
 this mafter, is the hiftory of Hercules delivering Tityus from the Vulture. 
 
 Giovanni 
 
MAN 
 
 f 38S 3 
 
 MAN 
 
 Giovanni MANNOZZI, called Giovanni da San Giovanni, 
 
 Painted Hijlory.. 
 DIED 1636, AGED 46. 
 
 He was born in the year 1590, and inftructed in defign and colouring by Matteo 
 Rofelli, with whom he ftudied for feveral years, and diftinguifhed himfelf as an excellent 
 artift. His extraordinary merit recommended him to the favour of Cardinal Bentivoglio 
 at Rome, by whom he was employed to paint a picture of Night, as a contraft to the 
 Aurora of Guido, which was in that palace. Such an undertaking, though accounted 
 fuitable to his genius and abilities, by thofe who were the moft competent judges, and 
 who beft knew the great talents of Mannozzi, yet procured him abundance of envy 
 among the painters of an inferior clafs. As foon therefore as he had made a confiderable 
 progrefs in his work, and received great applaufe for it, he found the whole painting 
 almoft defaced and deftroyed, when he returned one morning to finifh it. 
 
 The Cardinal exprefled a proper indignation, when he faw the effect of fuch a 
 mifchievous malice, and took every method to difcover the criminals j yet all proved 
 ineffectual, and the unhappy artift was undefervedly made a fubject of ridicule. But, 
 at laft, the Cardinal being with great difficulty prevailed on to permit him to begin a new 
 picture, Mannozzi determined to difcover the perfon who had been guilty of the paft 
 injurious treatment; and for that purpofe, having communicated his intention to a zealous 
 friend, one Furini, they both agreed to conceal themfelves at night on the fcaffbld, 
 being perfuaded that the fame perfon would infallibly make a fecond attempt, the former 
 having fo luckily fucceeded, and being ftill undetected. 
 
 About midnight, when all was filent, he obferved two perfons approach, one of whom 
 had a lantern in his hand : Mannozzi therefore fuffered them both to afcend on the ladder, 
 near to the top of the fcaffbld, and then, affifted by his friend Furini, he threw them off"; 
 by which they were fo dreadfully bruifed, that they were rendered incapable of ftirring 
 from the fpot till day-light, when they were difcovered to be two French painters, who 
 worked in the fame .palace. 
 
 From that time Mannozzi proceeded in his work at quiet ; and obtained the higheft 
 encomiums, for the tafte, the judgment, and the beautiful difpofition which appeared in 
 that performance. He had great freedom of hand, j he was very correct both in his 
 defign and outline's and was remarkable for having an agreeable, as well as a new 
 manner of compofmg and thinking. 
 
 Andrea MANTEGNA, called Cavaliere, . 
 
 Painted Hijlory and Portrait. 
 
 died 1517, aged 66. 
 
 He was born at a village near Mantua, in 1451, and (according to Vafari) of very 
 mean parentage, having, in the early part of his life, had no better occupation than to 
 
 D d d 2 attend 
 
M A N 
 
 [ 386 ] 
 
 M A,N 
 
 attend cattle; though his genius, and uncommon talents, raifed him to a high degree off 
 reputation and honour. He was placed as a difciple withGiacomo Squarcione, who very 
 loon difcerned the promifing abilities of his pupil, adopted him as a fon, and took all , 
 poilible care of- his inftruction. Nor was he any way difappointed in his expectations; 
 for, at the age of only feventeen, Andrea painted a picture for the grand altar of 
 St. Sophia at Padua, which gained him inexpreflible commendation, as it had not the lean: 
 appearance of a juvenile compofition or execution, but looked like the performance of 
 an experienced mafter. He ftudied the antiques with a kind of enthuliafm, and preferred . 
 the knowledge he derived from them to every other branch of knowledge in the art ; but, 
 hy that . means, he neglected to add the truth and tendernefs of nature, to the tafte he had 
 formed from the antique ; contenting himfelf : with mixing a few portraits among the 
 figures in his compofition.. 
 
 However, fome of his paintings have real merit, in particular parts; though his manner 
 is rather dry, and his pencil ftiff. His draperies ufually want elegance, by . being broken , 
 into too many fmall folds, which might perhaps be in a great meafure occafioned by the . 
 manner practifed by the painters of that time ; but, for correclnefs of defign, his pictures 
 maybe compared with the beft mafters. The keeping is excellent; and the fkill he had 
 in perfpective, which branch was either not well underftood, or much neglected by his- 
 cotemporaries, gave his works an additional recommendation, by giving them an appear- 
 ance of truth, as well as an air of novelty.; his perfpective being true and ornamental. 
 
 He mewed a particular excellence in the fore-fhortening of thofe figures which were 
 placed in a ppfition to require it. In this refpect good painters are often faulty and 
 falfe,.and, even when they are true, are apt to be ungraceful; but more perfect truth 
 in figures of , that kind cannot be produced, and there is alfo a great degree of grace 
 added to them all. 
 
 His raoft capital work is the Triumph of Julius Caefar, confifting of feveral pictures,, 
 which werejin the Royal collection at Hampton-Court.. That work he performed for. 
 the Marquis of Mantua, who, out of regard to his merit in that compofition, conferred 
 on him the honour of knighthood, and made him confiderable prefents. This mafter is 
 accounted, by the Italians, the inventor of the art of engraving. 
 
 MANTUANO. Vid. Marcello VENUSTL. 
 
 Tomaso MANZUOLI, called Tomaso da San Friano* 
 
 Painted Hi/lory, Land/cape, and Portrait* 
 DIED 1570, AGED 39* 
 
 He was born in I53i> and placed as a difciple under the care of Jacopo di Sandrov 
 He mewed fuch a promptnefs of genius, and fuch diftinguifhed abilities, even while he 
 was yet a very young man, that he was employed as an afliftant, to execute fome of the 
 moft confiderable works in Florence, undertaken by Michael Angelo Buonaroti, and 
 other great mafters j and was allowed by the beft judges to be an eminent arthV 
 
M A R 
 
 C 3*7 J 
 
 MA R 
 
 His fubje&s were fometmies taken from fabulous hiftory, and fometimes they wer<? 
 die product of his own imagination i but whatever fubjects he defigned were efteemed for 
 the extraordinary freedom of his hand, and for a beautiful tone of colouring, particularly 
 in his portraits, which he frequently enriched with landfcap.es,.. defigned in a very 
 lovely tafte, 
 
 Giovanni MAR'ACCI.. 
 Painted Hi/lory. 
 DIED I7O4, AGED . 67. 
 
 He was born at Eucca, in 1637, and learned the principles of defign from Pietrc*» 
 Paolini; but at the age of fourteen he went to Rome, and entered himfelf in the academy 
 of Pietro da Cortona. By the inftruetive precepts and admirable example of that excellent 
 mafter, the proficiency of his pupil appeared furprifing; and Maracci, having profitably 
 experienced the advantage he derived from fo able a director, continued with him for 
 eleven years. 
 
 At his return to Lucca, after fo long an ab fence, he found immediate employment, and 
 his works were uncommonly applauded ; for the judicious- commended him highly, as 
 well for the excellency of his tafte of defign, which was entirely of the Roman fchool, as 
 for the goodnefs of his invention and exprefiion, for the elegant difpofition. of his figures, 
 for the graceful airs of the heads, , and for a tint of colour that was exceedingly agreeable, - 
 
 Carlo MARATTI, called Cavaliere- 
 Painted Hijiory and Portrait* 
 DIED I713, AGED 88. 
 
 This eminent painter was born at Camerino, in the Marquifate of Ancona, in 1625, 
 and was the difciple of Andrea Sacchi ; with whom he purfued his ftudies for a great many 
 years, and was fo fondly attached to that great mafter, that nothing but the death of 
 Andrea could feparate. them. The : molt admired ftatues of the ancients, and the moft 
 celebrated paintings of the beft of his predeceflTors, were the objects of his perpetual . 
 attention and imitation ; till he had made himfelf mafter of the moft beautiful forms, and 
 the moft graceful attitudes and airs of heads. Thofe he fketched with the utmoft facility, 
 and by thofe he gave fuch dignity, beauty, and. elegance to his own compofitions, as 
 furpafled the works of all his cotemporari.es. 
 
 Maratti's manner of defigning was grand, and his manner of thinking and compofing 
 was truly noble, as well as judicious; his ordonnances were rich and magnificent, and his 
 exprefiion lively and affecting. His colouring generally has an uncommon clearnefs and 
 brilliancy, and his carnations are tender and delicate, efpecially in his early and middle time 
 of painting ; but many of his pictures appear, at this day, rather with too great a tint 
 
 5 °f 
 
MAR 
 
 t 3*8 J 
 
 MAR 
 
 of the red, which takes off considerably from the luftre of his colouring. His touch is 
 lively and exquifite, and his draperies have a noble variety, being managed with great 
 art and judgment. 
 
 In the attire and ornaments of the heads of his figures, and in the distribution of the hair, 
 there is fomewhat that looks great, and at the fame time natural, eafy, and becoming ; and 
 although, in fome of his compofitions, an accidental incorrectnefs may be found in fome of 
 the extremities, yet, in general, they are correct, and elegantly turned ; and the whole 
 together has a grace that can fcarce be fufficiently admired. 
 
 As his firft performances were principally Madonna's, the cotemporary artifts, who 
 began very early to obferve and envy his merit, gave him the nick-name of Carluccio 
 delle Madonninej as if his genius in compofition was limited to that one fubject, and 
 could rife no higher. But he foon gave fuch manifeft proofs of an extenfive and enlarged 
 genius, as convinced the world of the fuperiority of his talents. He received the honour 
 of knighthood as a public teftimony of his merit, and he has been more refpected and 
 admired than any of the modern painters. While he was alive his works were fold at 
 prodigious prices, and they ftill retain their value in every part of Europe ; they are in the 
 greateft efteem with the prefent age, and they are likely to be equally efteemed by pofterity. 
 The laft work of Carlo is in the Carthufians convent at Naples ; the fubject is the 
 Baptifm of Chrift, and it is finely defigned ; yet one cannot help obferving the decay of 
 that mafterly hand in the execution. 
 
 A very capital picture of Carlo Maratti is in the cathedral church of -Si en a; the.fuhject 
 of it is the Vifitation of the Virgin, and the principal figure (as well as that of St. Anne) 
 is extremely beautiful j the draperies are elegantly caft, in broad folds ; the colouring is 
 good, and abundance of grace appears in the airs and attitudes ; yet there are defects in 
 the feet and head of another of the figures in the compofition, though, upon the whole, it 
 is an excellent performance. In the fame church alfo there is a Flight into Egypt, by this 
 matter, in which the head of the Virgin is in a fine tafte, and of a noble character but 
 the head of Jofeph cannot be commended. Alfo in the Palazzo Arnaldi, at Florence, is 
 preferved a very pleafing picture, reprefenting Venus on a Couch. The figure is lovely, 
 and the attitude graceful, though the colouring is a little too red. A eurtain.of filk gauze 
 is drawn before this picture, to prefer ve it from duft, or other injuries. 
 
 N. MARCEL. 
 
 Painted Fruit and Flowers, 
 
 DIED 1683, AGED 55. 
 
 He was born at Frankfort, in 1628, and became the difciple of George Flegel or 
 
 Vlughels, whofe manner he imitated, and always adhered to it j but he proved far fuperior 
 
 to his mafter in the fubjects he painted, fuch as vafes filled with different kinds of fruit 
 
 and flowers, and alfo curious fliells •> all which fubjects he copied exactly from nature, and 
 
 iinifhed them highly, with a light touch, ar»d very natural colouring. 
 
 3 MARGA- 
 
MAR 
 
 MAR 
 
 MARGARITONE. 
 
 Painted Hijiory and Portrait, 
 
 DIED I275, AGED 77. 
 
 This very ancient matter was born at Arezzo, in 1198, and painted in the tafte and 
 manner of thofe Greek artifts who contributed to the revival of the art of painting in 
 Italy. He worked in frefco and diftemper, painted in a fmall as well as a large fize, 
 and was eminent alfo in his time as a fculptor and an architect. The art of gilding with 
 leaf gold upon Armenian bole, was firft invented by Margaritone \ and at Pifa he painted 
 the Legendary Hiftory of St. Francis, with a number of fmall figures on a gold ground. 
 Many of the works of this mafter were at St. Peter's, and the church of St. John Lateran, 
 at Rome ; many were likewife in his native city, and others at Florence and Pifa, by which 
 he gained the reputation of being the beft painter of his time. 
 
 When Pope Gregory X. died at Arezzo, Margaritone was appointed to erect his monu- 
 ment, and to adorn the chapel where he was interred ; by which means a lucky opportunity 
 was afforded him, to difplay his great abilities j for he not only made the marble ftatue of 
 the Pope, which was placed on his tomb, but he alfo decorated the chapel with the portrait 
 of Gregory, and with feveral other ornamental paintings. 
 
 Onorio MARINARI. 
 
 Painted Portrait and Hijiory. 
 
 DIED I715, AGED 88. 
 
 He was born in 1627, and was the difciple of Carlo Dolce, by whofe instruction, and 
 his own concurring afliduity in ftudying the works of the great matters, he acquired 
 a good tafte, and great correctnefs of defign. His utmoft ambition was to imitate the 
 ftyle of his mafter, and he devoted himfelf fo entirely to purfue that point, that his 
 endeavours were attended with a fuccefs equal to his wiflies. There appeared fo great 
 a fimilitude in the colouring and high finifhing of thofe two eminent artifts, that it proved 
 no eafy matter, even at the time they painted, to diftinguifh their hands ; though in the 
 choice of his fubjects, in difpofing them with greater elegance, and alfo in giving them 
 more harmony and expreffion, Marinari was thought fuperior to Carlo. 
 
 In portrait painting his ftyle was excellent, the refemblance aftonifhing, his colouring 
 was life itfelfj and he fhewed an equal degree of merit in hiftorical compositions. Two 
 charming pictures painted by Mariani'are mentioned, as having been fent to England j the 
 one is, the Judgment of Paris j the other, Diana with her Nymphs bathing. 
 
 After the death of Carlo Dolce, he finimed feveral pictures, which were left imperfect 
 by that mafter; and executed them with fuch exact llmilarity of touch and colour, as 
 made the difference of hands imperceptible. He poiTefled a fruitful and fine invention, 
 
 and 
 
MA R 
 
 [ 39° 3 
 
 m AS 
 
 and was univerfally efteemedfor the beauty of his colouring, for the happy diftribution of 
 his lights, for the noble airs of his heads, for the decency and grace of his naked figures., 
 and for the correctnefs of his defign. 
 
 MARIO da Fiori. Vid. Nuzzi. 
 
 MARMOCCHINI. Vid. Giovanna Cortesi. 
 
 MARTIRELLL. 
 
 Painted Landfcape. 
 
 DIED I72O, AGED 50. 
 
 He was born at Naples, in 1670, and learned the art of painting from Giacomo del Po ; 
 but not finding his genius inclinable to hiftorical compofition and defign, and therefore s 
 defpairing to arrive at perfection in that ftyle, he determined to practice a different branch, 
 and ftudied only landfcape, in which he became an excellent mafter. 
 
 In that ftyle, he found room to exert all the powers of his imagination and inventions 
 and acquired an extraordinary readinefs of hand. His colouring was natural, his fites 
 full of pleafing variety; his figures were elegant, and always introduced with propriety 
 and great judgment; the incidents of his light have generally a lovely effect, and his 
 perfpective is true. 
 
 Giovanni Stefano MARU-CELLI. 
 Painted Hi/iory. 
 DIED I706, AGED 60. 
 
 He was born in 1646, and was a difciple of Andrea Bofcoli, by whom he was taught 
 defign, colouring, and perfpective. In a fhort time, he diftinguifhed himfelf in that fchool, 
 and gradually became fo eminent, that he was invited to Pifa to paint a grand altar-piece 5 
 which he executed in fuch a tafte, as eftablifhed his reputation through all Italy. Another 
 very admired picture of this mafter, was the hiftory of Abraham entertaining the three 
 Angels; that performance being defigned in a grand ftyle, the expreffion good, and the 
 tafte of the compofition very elegant. This mafter excelled-alfo in architecture, and was 
 the inventor of many curious and ufeful machines. 
 
 To ma so MASACCIO, called Da San Giovanni. 
 
 Painted -Hi/lory, 
 
 *DIED I443, AGED 2,6. 
 
 He was born at St. Juan de Valdamo, in 1417, and was the difciple of Maffolino da 
 Panicale ; but he proved as much fuperior to his mafter, as his mafter was fuperior to all 
 
 his 
 
 * Moft authors agree that Mafaccio died in 14435 but S-indrart -fixes his death in 1446. 
 
MAS 
 
 C 39* 3 
 
 MAS 
 
 his cotemporaries ; and is accounted the principal artift of the fecond or middle age of 
 modern painting, from itsrevival under v, Cimabue. 
 
 His genius was very extenfive, his invention ready, and his manner of defign had 
 unufual truth and elegance. He confidered painting as the art of reprefenting nature with 
 truth, by the aid of defign and colouring; and therefore he made nature his moft conftant 
 ftudy, till he excelled in a perfect imitation of it. He is accounted the firft who, from 
 judicious obfervations, removed the difficulties that impeded the ftudy and the knowledge 
 of the art, by fetting the artifts an example in his own works, of that beauty which arifes 
 from a proper and agreeable choice of attitudes and motions, and likewife from fuch 
 a fpirir, boldnefs, and relief, as appears truly juft and natural. He was the firft among 
 the painters who ftudied to give the draperies of his figures more dignity, by omitting the 
 multitude of fmall folds, fo cuftomarily practifed by the preceding artifts, and by defigning 
 them with greater breadth and fulnefs. He was alfo the firft who endeavoured to adapt 
 the colour of his draperies to the tint of his carnations, fo as to make the one harmonize 
 with the other. And it is obferved of this mafter, that his colouring was exceedingly 
 agreeable, his draperies were loofe and broad, and the actions of his figures much more 
 graceful than any of his predeceffors. 
 
 He was uncommonly (killed in perfpe£Uve, and performed feveral defigns in that way, 
 which were the admiration of every beholder; particularly a painting in the church of 
 St. Nicholas at Florence, reprefenting the Annunciation; in which fubject, the perfpective 
 introduced in the compofition affords a curious deception to the eye, every object receding 
 with abundance of truth and artifice, and it is exceedingly commended by Vafari. His 
 works procured him univerfal approbation ; and it feemed aftonifhing to confider what 
 genius, what judgment, what talents, and what execution he mewed at fo early a time of 
 life, being only twenty-fix when he died, at a time when there was the higheft expec- 
 tation of his arriving at perfection as he advanced in years. But the very fame merit 
 which promoted his fame, excited envy; and he died, to the regret of every lover of the 
 art, not without ftrong fufpicions of his being poifoned; 
 
 The moft capital work of Mafaccio, is the reprefentation of Chrift curing the 
 Demoniacs. 
 
 Annibal MASSARL 
 
 Painted Hi/lory. 
 
 DIED 1633, AGED 64. 
 
 He was born at Bologna, in 1569; and having for fome time ftudied in the fchool of 
 Paflerotti, he placed himfelf in the academy of Ludovico Caracci, to perfect himfelf in 
 the true principles of the art, and completed his ftudies at Rome. At his return to 
 Bologna, he adorned the cloifter of St. Michael in Bofco, and many of the chapels and 
 palaces of that city, with his performances ; and obtained an eftabliftied reputation, being 
 accounted, through all Italy, an excellent mafter. 
 
 E e e His 
 
MAS 
 
 [ 392 1 
 
 M A S 
 
 His works did great honour to the academy where he was inftructed, particularly the 
 copies which he painted after ibme of the fineft compofitions of Ludovico; and which 
 have fuch an uncommon fpirit, freedom, and exactnefs, as to make feveral of them pafs, 
 at this day, for undoubted originals of that illuftrious artifh 
 
 Otho MASSjEUS, or MARCELLIS. 
 
 Painted Reptiles^ Infefls, and Plants. 
 DIED 1673, AGED 6o» 
 
 He was born at Amfterdam, in 161 3, and became a diftinguifhed painter of thofe 
 fubjedts with which his imagination was moft delighted, and to which the turn of hi3 
 genius particularly inclined him. Being defirous to acquire all poflible improvement in 
 his profeflion, he travelled through moft parts of Italy, and fpent a coniiderable time at 
 Rome and Naples j devoting many hours of every day to fearch after fuch objects as were 
 fuitable to his tafte, in the environs of thofe cities j fuch as vipers, adders, fnakes, and 
 thofe peculiar plants under which they fheltered themfelves, or on which they were 
 fuppofed to feed. He painted alfo butterflies and infects of all kinds that appeared either 
 curious or beautiful, when they engaged his attention; and thofe he copied after nature, 
 with great correclnefs, .with a tender and delicate pencil, and with a truly, natural tint 
 of colour, that had great force and an agreeable effect. For feveral years he was retained 
 in the fervice of the Grand Duke of Tufcany y and in France he was employed by the 
 Queen-mother, who allowed him a piftole for every four hours in each day that he 
 painted. 
 
 Houbraken relates that he had a fmall fpot of ground at a little diftance from the city 
 of Amfterdam, well enclofed, where he preferved all his poifonous reptiles, and fed them 
 every day with his own hand : by which management he made them fo familiar, that 
 they would at any time readily come abroad into the open air, whenever he wanted to 
 paint them ; and lie quietly in any pofition, juft as he thought proper to place them, and 
 as long as he had occafion to obferve them. 
 
 No painter could reprefent thofe fubje£ts with more truth and nature than he did, nor 
 finifti them to a higher degree of perfection. They are highly efteemed in every part of 
 Europe} they frequently bring large prices, and are admitted into the beft collections* 
 
 MASSOLINO da Panicale. 
 
 Painted Hijiory. 
 DIED I4SO, AGED 37. 
 
 He was born at Florence, in 141 3, and at firft was a difciple of Lorenzo Ghiberti ; 
 but at the age of eighteen he learned the art of colouring from Gherardo dello Stamina, 
 at Florence, and afterwards went to Rome to finifti his ftudies. There he improved 
 himfelf confiderably, and foon met with fufficient encouragement t but the air of Rome 
 
 not 
 
MAT 
 
 C 393 ] 
 
 M A T. 
 
 Hot agreeing with his conftitution, compelled him to return to Florence. In that city 
 he undertook a grand defign, comprifing the hiftory of St. Peter; and in the different 
 parts of the compofition he introduced every memorable incident in the life of that Saint. 
 When the work was finiflied, it procured him great honour, as it not only pleafed by the 
 novelty of the defign, but by the goodnefs of the keeping through the whole. It was 
 painted in the manner of Giotto; the figures had a great deal of grace, and every part of 
 the work was allowed to have great grandeur of tafte, union of harmony in the colouring, 
 with very good relief; and it was much lamented, that by the death of the artift fome 
 part of it was left unfiniihed. 
 
 Mafloiino had an extraordinary genius, a good invention, and an expeditious manner 
 of working. He mewed himfelf much fuperior to any of his cotemporary artifts in the 
 dignity of his characters, and likewife in the difpofition of his draperies; in that fweetnefs 
 of countenance which he gave to his female figures ; in the agreeable turn of the limbs, 
 and the life which he diffufed through the eyes; in his knowing how to manage his 
 lights and madows fo properly as to give his objects a commendable relief; and in the 
 lingular Ikill which he had in the art of perfpective. 
 
 Paolo da MATTE I, called Paoluccio. 
 M Painted Hijlory* 
 DIED I728, AGED 67. 
 
 He was born at Naples, in 1661, and for fome time ftudied at Rome; but he was 
 afterwards a difciple of Luca Giordano. From that matter he acquired a moft expeditious 
 hand and a free pencil; and he refembled him alfo in that wonderful expertnefs of 
 imitating Raphael, Guido, Titian, Correggio, Caracci, and other famous painters, in fo 
 exact a manner, as to deceive even fome who are well fkilled in the art. 
 
 As to his original works, feveral of them are much efteemed, being well compofed, 
 and correctly deligned ; but there is a remarkable inequality in his performances, feveral 
 of them being abundantly better than others. The ufual fault of Mattei was, that his 
 lights and fhadows were not well adapted to produce a flriking effect; thofe parts which 
 demanded a ftrength of fhadow, being perhaps a fmall degree deeper in the tint, than the 
 lighter parts which they were intended to oppofe; by which means the beauty of the 
 colouring is in a great meafure deftroyed, and the whole appears weak. However, in 
 many refpects, he was a confiderable mafter; and thofe works of his which are in the 
 churches at Rome and Naples, are extremely commended, and will always afford a 
 fufficient proof of the grandeur of his tafte, and the freedom of his pencil. 
 
 In the church dedicated to Xavier at Naples, there is a fine compofition by Paolo da 
 Mattei, of which fome parts are defervedly admired. The figure reprefenting the Deity ( if 
 we overlook the abfurd impiety of defcribing the Invifible Being in the form of an old man) 
 is ingenioufly difpofed, and in a becoming attitude ; but the head of the Saint is very 
 indifferent, and fo alfo are the boys which are on the ground. Moft of the cielings of 
 
 E e e 2 the 
 
MAT 
 
 [ 394 3 
 
 MAT 
 
 the church are likewife by this matter ; and although they are exceedingly well compofed, 
 and have a geeat deal of harmony, yet, for want of broad mafles of light and fliadoWi 
 they have but a feeble effect* 
 
 Q^uintik MATSY'S. 
 Painted Hijiory and Portrait. 
 
 DIED 1529* AGED 69. 
 
 He was born at Antwerp, in 1460, and for feveral years followed the trade of a 
 blackfmith or farrier, at leaft till he was in his twentieth year- Authors vary in their 
 accounts of the caufe of his quitting his firft occupation, and attaching himfelf to the art of 
 painting. Some affirm, that the firft unfolding of his genius was occafioned by the fight 
 of a print, which accidentally was (hewn to him by a friend, who came to pay him a vilit 
 while he was in a declining ftate of health, from the labour of his former employment; 
 and that, by his copying the print with fome degree of fuccefs, he was animated with a 
 defire to learn the art of painting. 
 
 Others fay, he fell in love with a young woman of great beauty, the daughter of a 
 painter ; and they alledge that love alone wrought the miracle, as he could have no 
 profpect of obtaining her except by a diftinguiflied merit in the profefiion of painting* 
 For which reafon he applied himfelf, with inceflant labour, to ftudy and pradtife the 
 art, till he became fo eminent as to be entitled to demand her in marriage; and he 
 fucceeded. 
 
 Whatever truth may be in either of thefe accounts, it is certain that he appeared to 
 have an uncommon genius; his manner was lingular, not refembling the manner of any 
 other mafter ; and his pictures were ftrongly coloured, and carefully finiflied; but yet 
 they have fomewhat dry and hard. By many competent judges it was believed, when 
 they obferved the ftrength of expreflion in fome of his compofitions, that if he had ftudied 
 in Italy to acquire fome knowledge of the antiques, and the great matters of the Roman 
 fchool, he would have proved one of the moft eminent painters of the Low Countries. 
 But he only imitated ordinary life, and feemed more inclined,, or at leaft more qualified, 
 to imitate the defects than the beauties of nature. Some hiftorical compofitions of this 
 mafter deferve commendation ; particularly a Defcent from the Crofs, which is in the 
 Cathedral at Antwerp ; and it is juftly admired for the fpirit, (kill, and delicacy of the 
 whole. But the moft remarkable and beft known picture of Matfys, is that of the two 
 Mifers in the gallery at Windfor. 
 
 John MATSYS. 
 
 Painted Portrait and Hijiory. 
 
 He was born at Antwerp, the fon of Quintin Matfys, and alfo his difciple. He painted 7 
 in the fame ftyle and manner, but not with a reputation equal to his father ; though 
 
 many 
 
MAT C 395 3 M A Z 
 
 many of his pictures are fold to unfkilful purchafers, for the paintings of Quintin. 
 His moll frequent fubjedt was the reprefentation of Mifers counting their gold, or 
 Bankers examining and weighing it. 
 
 M A T U R I N O. 
 
 Painted HiJIory, 
 
 DIED IS27, AGED 37. 
 
 He was born at Florence, in 1490, and had the good fortune to be the difciple of Raphael, 
 who carefully inftructed him in all the belt principles of the art, and afterwards employed 
 him in executing feveral of his grand defigns. 
 
 He ftudied the antique ftatues and bas-relieves fo effectually, that from them he imbibed 
 the tafte for elegant and graceful nature; he proved a mafter of the firft rank, and 
 aflbciated with Polidoro da Caravaggio, who had been his fellow difciple in the fame 
 illuftrious fchool. Thofe two artifts lived together, infeparable in their affection and in 
 their labours; their tafte of compofition, and their choice of fubjedts, being fimilar; and 
 even their ideas, as well as their handling, had fo great a refemblance, that it feemed 
 impoflible to determine the pencil of the one or the other artift, in any of their united 
 performances. No painters could better defign the ancient habits, vafes, characters, arms, 
 or facrifices, than Maturino and Polidoro; and although they borrowed the hints from the 
 moft celebrated antique Grecian ftatuaries, yet even the imitation of the true antique tafte 
 appeared entirely original in their compofitions ; a peculiar air of antiquity was obfervable 
 in them all, and they were ufually painted only in two colours, refembling bas-relief 
 carved on marble. 
 
 As the knowledge and advantage of the chiaro-fcuro began about that time to be 
 difcovered, Maturino took exceeding pains to obtain a competent power of ufing it in 
 his own works; he had the happinefs to find himfelf very fuccefsful in his endeavours, 
 and would probably have brought that part of the art to a much higher degree of per- 
 fection, if he had lived longer. But the troubles which involved Rome at that time in ~ 
 the deepeft diftrefs, compelled Maturino to fly from it; tore him away from his beloved 
 companion Polidoro, though Vafari fays, their fouls were fo united by a fincere friendmip, 
 that they were determined to live and die together; and he was carried. off by the plague, 
 when he had only arrived at the age of thirty-feven. 
 
 MAYO. Vid. V E R M E YEN. 
 
 Damiano MAZZA. 
 Painted H'tjiory. 
 
 He was born at Padua, and in that city was taught the rudiments of painting; but ha 
 travelled to Venice, and placed himfelf as a difciple with Titian, whole manner he 
 carefully ftudied, and imitated it with very great fuccefs. 
 
 Having 
 
MAZ 
 
 t 396 3 
 
 MAZ 
 
 Having in a few years fufficiently improved himfelf under that incomparable mafter, 
 he returned to Padua, and was employed to paint the hiftory of the Rape of Ganymede; 
 which fubje£t he defigned in fo elegant a tafte, and with fo charming a tint of colouring, 
 that it might defervedly be taken for the compofition and hand of Titian. However, the 
 art of painting was too foon deprived of one of its greater!: ornaments, by the death of Damiano 
 Mazza, who happened to be cut off in the flower of his age, at a time when there was 
 a general expectation of his being equal to any of the greateft mafters of Italy. 
 
 Paolo MAZZOCHI. Vid. Uccello. 
 
 Pier Francisco MAZZUCCHELI, Cavaliere, called MORAZONE. 
 
 Painted Hijiory. 
 
 DIED 1626, AGED 55. 
 
 This painter, who was born at Rome, in 15715 was fo extremely poor in that city, as 
 to be unable to procure a particular mailer to inftruct him in the art of painting, to 
 which his natural genius ftrongly prompted him; but at feveral times he reforted to 
 different fchools, where he gained fome knowledge of defign. He then took pains to 
 improve himfelf, by ftudying after the antiques, which were open to his obfervation, and 
 after the grand paintings in the churches, to which he could always have eafy accefs ; 
 till, by purfuing that courfe for fome years, he formed his tafte and perfected his hand, fo 
 as to appear an expert and ingenious artift, working equally well in frefco and in oil. 
 
 He might have rofe to the higheft excellence in his profeffion, if his mind had been 
 more engaged about his art, and lefs about intrigue ; but when his reputation was almoft 
 advanced to the higheft pitch, he was unhappily flopped in his progrefs by an indifcreet 
 amour, which had nearly coft him his life, and compelled him to fly precipitately from 
 Rome to Venice. However, while he refided in that city, he added confiderably to his 
 knowledge in the art of painting, and united the beauty of the Venetian' colouring with 
 the Roman tafte of defign. 
 
 Several grand altar-pieces at Milan are of his hand, and extremely admired ; and his 
 merit recommended him to the particular efteem of Charles Emanuel Duke of Savoy, 
 who invited him to his Court, took him into his fervice for fome years, beftowed on 
 him many princely gratuities, and afterwards conferred on him the order of knighthood. 
 
 In the Chartreufe at Pavia, in one of the chapels, is a noble altar-piece by Morazone, 
 which is compofed in an exceeding grand ftyle, and is charmingly coloured. 
 
 Francesco MAZZUOLI. Vid. Parmigiano. 
 
 Jeronimo MAZZUOLI, called Parmigianino. 
 Painted Hijiory and Portrait. 
 He was born at Parma, and was the coufin and difciple of Francefco Mazzuoli, called 
 Parmigiano, whofe ftyle and manner he imitated moft happily, and performed a great 
 
 number 
 
MED 
 
 C 397 3 
 
 MED 
 
 number of elegant defigns in the churches of Parma, Pavia, Mantua, and the neigh- 
 bouring cities. He was accounted a very excellent painter, although he could not give 
 his figures that lovely air and grace which peculiarly diftinguifhed the works of his 
 mafter ; but he fufficiently evidenced the greatnefs of his abilities, by finifhing fome of 
 the works of Parmigiano, which had been left imperfect by the death of that celebrated 
 artift. 
 
 In the Refectory of the Convent belonging to the Monks of St. John the Evangelift 
 in Parma, he painted a curious piece of perfpective in frefco, and a Laft Supper in oil 
 colours, both exceedingly well defigned and executed ; and in the chapel of the Fran- 
 cifcans he painted a very noble defign, reprefenting the Converfion of St. Paul, which* 
 was efteemed an incomparable performance. 
 
 PlETRO MEDICI. 
 
 Painted Hi/lory, 
 
 DIED 1648, AGED 62. 
 
 He was born of an illuftrious family at Florence, in 1586, and learned defign and 
 colouring from that great artift Cigoli ; by whofe inftruction he acquired a ftrong and 
 pleafing manner of colouring, a correctnefs of outline, and an expreffion that was truly 
 natural. 
 
 Giovanni Battista MEDINA, Chevalier, 
 Painted Hijiory and Portrait. 
 
 DIED I7II, AGED 51. 
 
 He was born at Bruffels, in 1660, the fon of a Spanifh officer; and having learned 
 the principles of defign under the direction of Du Chatel, under whom he made a good 
 progrefs, he applied himfelf to ftudy the works of Rubens; and made that eminent 
 mafter his particular model, preferably to all other painters. He was indefatigable in 
 his ftudies, through an ardent defire of imitating the beautiful tints of Rubens, efpecially 
 in his carnations; to acquire his judicious manner of adapting his draperies of his figures 
 to the difference of nations and times; and to habituate himfelf to that grandeur of thought, 
 and that variety of attitudes, difcernible in the works of that famous artift. 
 
 By that method of conducting his ftudies, his future works procured him great repu- 
 tation through all Flanders ; and recommended him to perfons of the beft tafte in England, 
 where his performances were considered as being not far inferior to thofe of Rubens. 
 They produced fuch prices as did honour to the artift, and were efteemed not only for 
 the invention, but for the harmony thatfubfifted through the whole. He alfo excelled in 
 portrait; painting thofe fubjects with remarkable freedom of touch, and ftrong refemblance 
 of the perfons. Moft of the Princes of Germany held him in extraordinary efteem, and 
 diftinguilhed his merit by feveral marks of honour; but in the year 1686 he went to 
 
 $ England 
 
MEE 
 
 [ 398 ] 
 
 MEE 
 
 England, where his abilities were already well known, and amply encouraged during his 
 refidence in London; that truly benevolent people being more remarkable for their 
 liberality to all kinds of merit, than any other nation in Europe. 
 
 By the favour of the Earl of Leven, who procured for him a fubfcription of five 
 hundred pounds, he was at laft induced to vifit Scotland, where he painted the portraits 
 of the principal Nobility; and he might have enriched himfelf, by the variety of hiftorical 
 pictures and portraits which he finiflied at the different Courts where he was employed, 
 if the largenefs of his family, and perhaps fome want of neceffary economy, had not 
 prevented it. By order of the Grand Duke of Tufcany, the portrait of Medina, painted 
 by himfelf, was placed in the gallery at Florence, among the moft memorable artifts ; 
 and as a public acknowledgement of his merit in bis profeflion, he was knighted by the 
 Duke of Queenfbury, Lord High Commiffioner, being the laft knight made in Scotland 
 before the union of the two kingdoms. 
 
 John Vakder MEE REN, or MEER, called the, Old. 
 
 Painted Landfcapes, Battles, and Views of the Sea. s 
 
 DIED 169O, AGED 63. 
 
 This painter was born in 1627; but the matter under whom he learned the art of 
 painting is not mentioned. His genius directed him to choofe for his fubjects fea-pieces, 
 and views of the fea and its fhores, which he painted with great truth, as he had 
 accuftomed himfelf to fketch every fcene after nature. The fituations of his landfcapes 
 are agreeably chofen; frequently they are folemn, and generally pleafing. The forms of 
 his trees are eafy and natural, his diftances well obferved, and the whole fcenery has 
 a ftriking effect, by a happy opposition of his lights and lhadows. 
 
 He perfectly underftood the construction of fhips, and had competent fkill to reprefent 
 their natural appearance in all their different pofitions ; fo that his compofitions, in that 
 .ftyle of painting, were in good efteem. The figures which he inferted in his landfcapes 
 were well defigued ; and although they might be faid to want elegance, yet were they 
 ^placed with judgment, and well adapted to their fituations. This mafter alfo very often 
 painted battles, in fuch a ftyle as met with approbation; as theyfhewed good compofition, 
 were touched with fpirit, and had a great deal of tranfparence in the colouring. But the 
 fault imputable to Vander Meer, is, that in fome of his pictures the back-grounds are a 
 little too blue, and fome of his landfcapes have a tint that appears rather too yellowiih. 
 
 John Vander ME ERE N, or MEER, called De Jonghe. 
 
 Painted Landfcape. 
 died 1688. 
 
 It is fuppofed, that this artift was the fon of the old John Vander Meer, and learned 
 the firft rudiments of the art from his father, who was a landfcape-painter, and highly 
 
 q efteemed ; 
 
M E E 
 
 C 399 3 
 
 M E H 
 
 efteemed; but, being in his youth deprived of his instructor, before he had made any 
 great progrefs, he became a difciple of Nicholas Berchem, and was accounted the beft of 
 thofe who were educated in the fchool of that admired mafter. He applied himfelf with 
 all poftible afliduity to imitate the delicate ftyle of Berchem ; but he took alfo care to ftudy 
 nature with an equal degree of attention. In the manner of his mafter he painted land- 
 fcapes and cattle; and hisufual fubjects are cottages, with peafants at their rural occupa- 
 tions and diverfions, or tending flocks of fheep and goats ; which are excellently defigned, 
 drawn with correclnefs, and delicately finiftied. 
 
 His fkies, trees, and figures, are in a good tafte; and his grounds are diverfified and 
 broken, with abundance of judgment and fkill ; but it is obferved of him, that he very 
 rarely introduced cows, horfes, or any other fpecies of animals, except goats and fheep ; 
 the latter of which are fo highly finiftied, that one would imagine the wool might be felt, 
 by the foftnefs of its appearance. His touch is fcarce perceptible, and yet the colours 
 are admirably united. 
 
 The genuine works of this Vander Meer bear a very high price, and are efteemed 
 even in Italy, where they are admitted into the beft collections ; but the fcarcity of them 
 has occafioned many moderate copies after his works to be pafied on the undilcerning for 
 real originals. 
 
 John Vander MEER. 
 Painted Hijiory and Portrait. 
 
 He was born at Schoonhoven, in 1650, and was taught defign and colouring at 
 Utrecht; but he went to Rome very early, accompanied by Lievin Verfchuur. 
 
 As his friends were in affluent circumftances, and fupplied his occafional demands in 
 a very liberal manner, he had nothing to withdraw his attention from his ftudies, which 
 he profecuted with the utmoft induftry. Nor was he more diftinguiftied for his diligence 
 than for the benevolence of his mind ; for, inftead of profufion in expences which 
 might adminifter to his private pleafures, he appropriated all the money he could lpare, to 
 aflift thofe artifts whofe neceffitous circumftances difqualified them for purfuing their 
 ftudies in a proper manner; and by that unufual beneficence to all, he at the fame time 
 gained the admiration of ftrangers, and the grateful afFe&ion of his own countrymen. 
 
 For fome time he ftudied under Droft and Carlo Loti, at Rome ; he painted hiftorical 
 fubjects with figures as large as life, as well as portraits ; and had .a ftrong, firm, and 
 bold ftyle of painting. As he pone fled an ample fortune, he feemed the lefs attentive 
 to the profits that might arife from his profeflion, and was apparently much more anxious 
 to acquire a lafting reputation. 
 
 L 1 v 1 o MEHUS, or Me u s. 
 Painted Hiftory, Portrait? and Landfcape, 
 
 DIED 1691, AGED 6l. 
 
 He was born at Oudenarde, in 1630 ; but* his family being forced to fly from that 
 Country, on account of the wars, he was carried along with his parents to Milan, when they 
 
 F f f retired 
 
M E L 
 
 C 4oo ] 
 
 MEL 
 
 retired to that city. His genius to painting, made him very defirous to- go. to ■ Rome ; but 
 he was obftrucSted by fe'vcral crofs accidents, and' more particularly by the poverty of his 
 family, and friends, who were unable to provide for his maintenance. However, at lair, 
 he had the good fortune to obtain admittance, as a difciple, in the fchool of Pietro da 
 Cortona, at Florence; under whom he pradtifed defign and colouring for fome years, 
 and made a commendable proficiency. 
 
 When he had gained fuch a degree of fkill in the art^ as might qualify him for farther 
 improvement by travel, he went to Rome, in the company of Stefano della Bella ; and 
 by obferving the variety of curious works which are to be feen in that city, and in 
 others through which he had travelled, he formed a ftyle of his own, that was, correct 
 and firm, with a peculiarity of penciling which was free and agreeable. He adorned 
 many of the chapels at Florence, with hiftorical compofitions, which are in the higheft 
 efteem ; and the Grand Duice, having employed- him in feveral confiderable works, 
 appeared fo highly fatisfied with his performances, that he ordered the portrait of 
 Livio, painted by- himfelf, to he placed in his gallery, among the portraits of the 
 celebrated artifts. 
 
 Some very capital paintings of Mehus, are mentioned in high terms by writers on this 
 fubject.. The picture of Bacchus and Ariadne, which he painted in concurrence with 
 Giro Ferri,. his fellow difciple under Cortona, is accounted admirable. The hiftory alfo 
 of Hagar and Ifhmaeli the Engagement of Achilles with the Trojans, the Triumph of 
 Ignorance, and others of his hand, are efteemed to be excellent performances. 
 
 But there is at this time, in the chamber of Flemifh artifts, in the Ducal Palace at 
 Florence, a grand compofition of Mehus, (the figures being as large as life) which 
 reprefents the Sacrifice of Abraham. Some of the connoifleurs fay, it was painted in 
 imitation of Lanfranc ; but it feems to be rather in the tafte of Salvator Rofa, the com*- 
 pofition having the character of that matter's fpirit and force, being alfo defigned in art 
 elevated ftyle, and with a great deal of fire. The expreffion through the whole is 
 good j but the expreffion in the figure of Ifaac is excellent. His pencil is broad and 
 free, the colouring ftrong, and every part of it fhews the execution of a great matter ; 
 though it is to be with ed that the contours had been more diftincV and more eafily 
 perceptible, 
 
 G-i o v.ahni. Paolo MELCHI O* I. 
 Painted Hi/lory. 
 
 He was born at Rome, in 1664, and became a difciple of Carlo Maratti. He proved 
 an honour to that renowned fchool, as he had a lively and fertile invention; as he 
 poflefled all the grandeur and fweetnefs of his matter's ftyle; and as he added to thofe 
 accomplifhments, a fingular corre&nefs of defign, and an expreffion that was full of 
 propriety and fpirit. 
 
 Gerard 
 
M E L 
 
 { 401 '3 
 
 M E L 
 
 Gerard MELDER. 
 
 ■Painted Portraits, and Land/capes in Miniature. 
 
 DIED 1740, AGED 47. 
 
 He was born at Amsterdam, in 1693, and had fo early a tendency to the art of 
 painting, that he devoted even the playful time of life to pra&ife after fome prints and 
 books of defigns, which contained proper models for a voting artift. And it may appear 
 furprifing, that fome of his nrft productions which were offered to the public, were 
 exceedingly commended, and eagerly purchafed. 
 
 He painted many pictures in oil with great fuccefs ; but, by the advice of his friends, he 
 afterwards applied nimfelf 10 miniature, as a kind of painting which would probably procure 
 him -more employment, and fewer competitors. And having accidentally met with fome 
 miniature paintings of Rofaiba, he not only improved his tafte and his hand by copying 
 them, but thofe copies Were fold full as dear as the originals. He alfo copied the works 
 of Rothenamer and Vander Werf, with equal fuccefs ; and defigned hiftorical and allego- 
 rical fubje&s in fo good a tafte, and with fuch fpirit and delicacy, that his works were 
 generally coveted, and purchafed at large prices. 
 
 The landfcapes of Melder were compofed in a very agreeable ftyle, and the figures 
 elegantly defigned, as well as pleafingly introduced. Purchafers were never wanting for 
 any of his compofitions, not only among his own countrymen, but alfo among feveral of 
 the Englifh Nobility, and the Princes of Germany; and for the King of Poland, in parti- 
 cular, he painted a confiderable number of pictures, which are not the leaft efteemed 
 ornaments of the cabinet of that Prince. 
 
 He is accounted one of the beft artifts in the miniature ftyle of painting ; he defigned 
 well, his compofition is agreeable, and his colouring is beautiful and true. He painted 
 m enamel as well as in water-colours ; but he difcontinued that kind of work, out of an 
 apprehenfion that it might be prejudicial to his fight. 
 
 Sim one MEM M I, of Siena. 
 Painted Hijlory-t Portrait^ and Mofaic. 
 
 DIED 1345, AGED 60. 
 
 He was born at Siena, in 1285, and was taught the art of painting by Giotto; whofe 
 mariner he afterwards imitated, and was employed by his mafter, to aflift him in the 
 Mofaic paintings, which he undertook for the church of St. Peter, at Rome. He rofe 
 into high favour with the Pope, who retained him in his fervice while he refided at' 
 Avignon ; and at that Court he had the opportunity of painting Petrarch's beloved Laura, 
 which induced that poet to celebrate Memmi in fuch a manner, as to render his name 
 and his merit univerfally known. At his return to Siena, he was'honoured and carefled 
 
 Fff2 by 
 
M E R 
 
 [ 402 ] 
 
 MER 
 
 by all orders of people, and employed to paint a picture for the cathedral of that city, of 
 which the fubject was the Virgin and Child, attended by Angels. The air and attitude 
 of the Virgin was lovely, and the compofition and ornaments were in a grand ftyle. 
 
 He finifhed many excellent portraits of the Pope, the Cardinals, and the moft illuftrious 
 perfons of that age, among which were the portraits of Petrarch and Laura; and as he 
 fpent a great part of his life at Florence, a great number of the hiftorical works of 
 Memmi are in the churches of that city. The greateft excellence of this matter 
 confifted in his frefco-painting ; and Vafari teftifies, that although he was not a good 
 defigner (his principal attention being engaged in ftudying and imitating nature, and 
 painting portraits after the life), yet the airs of his heads were very good, and his 
 colouring agreeable. However, he was ranked among the beft artifts of his time, as may 
 be evident from the infcription on his tomb, which afTerts that he was fuperior to any 
 artift of any preceding age. The words are, Simoni Memtnio, pSlorum omnium, omnis 
 (Ztatis celeberr'imo. - Vixit ann. 60. Menfihm duobus, diebus tribus. 
 
 Maria Sibylla MERIAN. 
 
 Painted InfeSli, Reptiles, and Flowers. 
 
 DIED I717, AGED 70. 
 
 She was born at Frankfort, in 1647, the daughter of Matthias Merian, a noted 
 engraver and geographer. As fhe fliewed a very early fondnefs for painting, fhe was 
 inftructed by Abraham Mignon, from whom fhe learned great neatnefs of handling, and 
 delicacy of colour. Her genius particularly led her to paint reptiles, flowers, and infects, 
 which fhe defigned after nature, and ftudied every object with a moft curious and inqui- 
 fitive obfervation; fo that her works rofe every day more and more into reputation. 
 
 Frequently fhe painted her fubjects in water-colours on vellum; and finifhed an 
 aftonifhing number of defigns, as fhe was equally indefatigable in her work, and in her 
 inquiries into the curiofities of nature. She drew the flies, and caterpillars, in all the 
 variety of changes and forms in which they fucceflively appear, from their quiefcent ftate 
 till they become butterflies ; and alfo drew frogs, toads, ferpents, ants, and fpiders, after 
 nature, with extraordinary exactnefs and truth. She even undertook a voyage to 
 Surinam, to paint thofe infects and reptiles which were peculiar to that climate; and, at 
 her return to her own country, publifhed two volumes of engravings after her defigns, 
 which are well known to the curious. And her daughter Dorothea Henrietta Graff, who 
 painted in the fame ftyle, and had accompanied her mother to Surinam, publifhed a third 
 volume collected from the defigns of Sibylla, which complete work has been always 
 admired by the learned, as well as by the profeffors of painting. 
 
 MESSINA. Vid. Antonello. 
 
 Angostino 
 
 p 
 
MET 
 
 [ 4°3 3 
 
 M E T 
 
 Agostino METELLI. 
 Painted Architecture and Perfpeftive. 
 
 DIED l66o, AGED 51. 
 
 He was born at Bologna, in 1609, and was a difciple of Gabriello D'Occhiali. The 
 excellence of this mafter confifted in painting perfpective and architecture J and he 
 aflbciated with Michael Angelo Colonna, who, in conjunction with Metelli, executed 
 feveral very magnificent works, which contributed highly to the honour of both artifts. 
 The frizes, foliages, and other ornaments of architecture, were performed by this 
 mafter in a grand ftyle of defign, and painted in a free and fine manner. 
 
 Metelli and Colonna were jointly employed at Buon-Retiro, and other palaces in 
 Spain, by Philip IV. for feveral years j and they received remarkable inftances of the 
 favour of that Monarch, who feemed to be fo exceedingly delighted with their painting, 
 that he frequently went on the fcaffold to fee thofe artifts at work. 
 
 Gabriel METZU. 
 
 Painted Portrait and Converfations. 
 
 DIED 1658, AGED 43. 
 
 He was born at Leyden, in 1615; and although his eminence in his profeffion is 
 inconteftable, yet the mafter under whom he ftudied the art of painting is not mentioned. 
 The matters which he chofe for his models were, Gerard Douw, and Mieris : thofe he 
 endeavoured to imitate, as well in their ftyle of compofition as in their colouring ; yet 
 there is a remarkable difference in the touch and penciling, which readily diftinguifhes 
 the works of thofe painters from the works of Metzu. However, he had generally fuch 
 exactnefs in drawing, fuch nature, truth, and delicacy, in his defign and pencil, fuch a 
 pleafing tone of colouring, and fo good an expreffion, that his paintings are in univerfal 
 efteem through all Europe. 
 
 In his colouring, he was accounted to approach near to Vandyck, and to refemble him 
 in his manner of defigning the hands and feet of his figures ; the countenances of them 
 had ufually a great deal of grace, a very diftinguifhing character and ftrong expreffion ; 
 and his pictures have abundance of harmony. His fubjects were ufually taken from low 
 life ; but they were all defigned after nature, and furprifingly well reprefented ; fuch as 
 women felling fifh, fowls, or hares ; fick perfons attended by the doctor ; chymifts in 
 their laboratories; dead game, painters rooms, fhops, and drawing fchools hung with 
 prints and pictures; all which fubjects he compofed well,.and finifhed them with extreme 
 neatnefs, as he lrkewife did his portraits. 
 
 He fpent a great deal of time on his pictures, which has occafioned their fcarcity 
 anddearnefs at this time; and befides, it is confidently faid, the Dutch prevent their 
 
M E II 
 
 E 4»4 J 
 
 f E U 
 
 "being carried out of their own country as much as poflible. So that thofe paintings of 
 Metzu which are fometimes feen in the collections Of our kingdoms, are either obtained 
 by chance, or purchafed at -large prices. Though it ought aifo to be remembered, that 
 the value fet upon the works of this matter, throughout Holland and Flanders, hath 
 induced feveral painters to endeavour at imitating and copying his works, which 
 having gradually circulated abroad, and being a little mellowed by time, are now called 
 originals. 
 
 Commonly he painted in a fmall fize ; but, according to Houbraken, the largeft 
 picture of this artift is in Holland, in the poffeffion of M.r. De Wolf. The fubject is a 
 number of gentlemen and ladies in a mercer's fhop, and it is defcribed as being excel- 
 lent in the difpofition, and correct in the defign j the naked fo foft, flefhy, and melting, 
 and the colouring fo clear, that it is truly admirable. The filks and ftuffs are curioufly 
 and neatly diftinct, and their different texture and folds reprefented with fuch truth and 
 eafe, that it really affords an entertainment to examine it. The attitudes of the figures 
 are well chofen, and every thing appears fo natural, that nothing feems wanting to its 
 perfection. Another "picture of Metzu is alfo defcribed, reprefenting a Lady wafhing 
 her hands in . a bafon of filver, held by her woman : this is an excellent performance, and 
 thought to be painted in his beft time. But a picture ftill more capital, is a Lady tuning 
 her Lute : the face is beautifully formed, and painted with the utmoft delicacy, the flefli and 
 life being imitated with uncommon force and fpirit^ and if the hands had been a little 
 more correct, the whole would not have been unworthy of Vandyck. 
 
 By confining himfelf to a fedentary life, with very little intermiflion, he was feverely 
 afflicted with the ftone ; and having confented to undergo the operation of cutting, he 
 was of too feeble a conftitution to furvive it. 
 
 Anthony Francis Va nder MEULEN. 
 Painted Battles, Land/capes, Sieges, and Encampments. 
 
 DIED 1690, AGED 56. 
 
 This painter was born at Bruffels, in 1634, and was a difciple of Peter Snayers, a 
 battle-painter of confiderable note ; by whofe instructions his improvement was fo very 
 rapid, that feveral of his performances, while he fludied in that fchool, might pafs for 
 good pictures. 
 
 While he followed his profeffion at Bruffels, fome of his compofitions happened to be 
 carried to Paris, and were fhewn to. Mr. Colbert. That great minifter foon difcerned the 
 abilities of Vander Meulen, and by his generous offers induced him to leave his native 
 city, and fettle at Paris; where he was employed by Lewis XIV. and had an appointment 
 of two thoufand livres penfion, befide being paid for his work. He attended that enter- 
 prifing Monarch in molt of his expeditions in the field, and defigned on the fpot the 
 lieges, attacks, encampments, and marches of the King's armies, alfo the views of thofe 
 
 cities 
 
MEU 
 
 c m 3 
 
 M E Y 
 
 cities and towns memorable by any degree of fuccefs ; and from thofe fketches he com-^ 
 pofed the paintings which were intended to perpetuate the remembrance of thofe military 
 exploits.. 
 
 In his imitation of nature he was exact and faithful; his colouring is excellent ; and 
 in his landfcape, the fkies and diftances are clear, and exceedingly natural ; and although 
 his figures are drefTed in the mode of the times, yet they are fo well defigned, and grouped 
 with fo much judgment, that his pictures have always a very linking effect. His 
 defign is generally correct, his touch free, and full of fpirit; and in the difrribution of 
 his lights and fhadows, there appears fo good an underftanding, that the eye of the 
 fpectator is conftantly pleafed and entertained. It cannot indeed be truly affirmed, that 
 the works of Vander Meulen have the fpkit and fire of Bourgognone and Parocel ; 
 but they fee m to have more fweetnefs ;. nor could any painter excel him in defcribing; 
 the various motions,, actions, and attitudes of horfes, as he carefully fludied every object 
 after nature, and knew how to exprefs them with truth and elegance. 
 
 The principal works of this mafter are at Verfailles and Marli j but many of his eafel 
 pictures are difperfed through England, France, and Flanders. . 
 
 Philip ME U S NIE R. 
 
 Painted Architefture. 
 
 died 17341 aged 79. 
 
 He was born in 1655, and was a difciple of James Rouffeau.. He proved an eminent 
 painter of architecture, having fpent feveral years at Rome, to complete his knowledge 
 of the art; and by carefully examining the magnificent buildings, about that city, as well 
 ancient, as modern, ... and likewife by defigning . after the works of thofe matters who 
 excelled in that particular branch which he chofe to cultivate, he acquired a confiderable 
 elegance of tafte. 
 
 His ftyle of compofttion is of the Roman fchool ; his colouring is good, and he had a 
 great felicity in managing his fliadows and his lights, fo as to produce an extraordinary , 
 effect 3 he had alfo a remarkable freedom of hand, and abundance of fpirit in his touch. 
 
 Felix MEYER. 
 Painted Land/capes and Animals, . 
 
 DIED I713, AGED 60. . 
 
 He was born at Winterthur, in 1653, and received his earlier! inftructions from a 
 painter at Nuremburg; but he was afterwards a difciple of Ermels, a good landfcape- 
 painter, whofe manner he entirely followed. He did indeed ftudy colouring after nature j 
 but he owed his beft accomplifliments to Ermels. In fearch of ftill greater improvement, 
 he travelled to Italy.; but the climate not agreeing with his conftitution, he retired to 
 
 5 Switzerland, 
 
M E Y 
 
 E 406 ] 
 
 ME Y 
 
 Switzerland, where there are abundant materials to aid the imagination, and improve the 
 tafte of an artift, by the infinite variety of profpe&s of plains, mountains, craggy rocks 
 and precipices, rivers, and falls of water, fufficient to furnifh the fancy of a painter with 
 fubjec~ls for future compofitions. As he was indefatigable in furveying all the beauty, 
 the wildnefs, and magnificence of nature in thofe romantic fcenes, he made a multitude 
 of noble defigns, which procured him very high reputation, and fupplied his own demands 
 in an ample manner. 
 
 He acquired an extraordinary freedom of hand, and a fingular readinefs of execution, 
 that equalled the vivacity of his imagination; of which he gave a remarkable proof at 
 the Abbey of St. Florian in Auftria, where he happened to ftop in his travels. 
 
 The Abbot, being delirous to have two grand apartments painted in frefco, and having 
 confulted another artift about it, who feemed very dilatory, applied to Meyer for his 
 advice, in what manner he would have it executed. Meyer for a few minutes viewed 
 and conlidered the place, and then taking a long ftick, to which he fattened a piece of 
 charcoal, he immediately began to defign, faying, Here I would have a tree ; which he 
 marked out as quick as poffible; at the remote diftance, I would reprefent a foreft; — 
 thus ; here a fall of water, tumbling from great rocks — and fo on. As faft as he fpoke, 
 he defigned; and deprived the Abbot of the power of cxpreffing his approbation, fomuch 
 was he loft in aftonifhment, to fee a defign with fuch elegance and tafte, executed even 
 without any time allowed for reflection. At the Abbot's requeft, Meyer undertook to 
 finifh the defign: the other painter was difmiffed, and the whole work was completed in 
 one fummer. 
 
 That adventure fpread his reputation through all Germany j and he was from thence- 
 forward continually employed by the firft Princes and Nobility in Europe. But, in the 
 latter part of his life, by endeavouring to fix on a manner ftill more expeditious, and 
 more pleafing, than that of his former time, his works had neither the fame eafe, freedom, 
 nor look of nature, though they might produce a more confiderable immediate profit. 
 But, as to his firft performances, they deferve to be ranked with thofe of the beft 
 painters of landfcape. 
 
 As he was not expert at painting figures, thofe which he inferred in his own pictures 
 being very indifferent; fuch of his landfcapes as were fupplied with figures by Roos, or 
 Rugendas, are accounted moft eftimable. 
 
 Albert MEYERING. 
 Painted Landfcapes^ and Views of Villas. 
 
 DIED 1714, AGED 69. 
 
 He was born at Amfterdam, in 1645, and learned the art of painting from his father 
 Frederick Meyering, an artift of fome abilities ; but, when he had acquired a good degree 
 of knowledge in his profeffion, he went to Paris, where he continued for a few years, 
 
 finding 
 
M E Y 
 
 f 407 3 
 
 M 1 E 
 
 finding little encouragement, and labouring very hard for a fubfiftence ; and from thence 
 travelled to Rome, which he perceived to be the only place where he could hope for real 
 improvement. 
 
 On his arrival at that city, though he was in a neceflitous fituation, he notwithftanding 
 purfued his ftudies induftrioufly; and having met with his friend John Glauber at Rome, 
 they aflbciated together, and vifited molt of the cities and towns of Italy, making obfervations. 
 in every place, on fuch parts of nature as might be of moft ufe to them in their feveral 
 performances. After an abfence of ten years, he returned to Holland extremely improved, 
 and was immediately employed in feveral confiderable works. In Italy he had acquired 
 a free pencil, and a ready manner of painting} which happened to be particularly ufeful 
 to him, as his defigns were ufually of a large fize, in halls, falons, and grand apartments ; 
 though he often painted eafel pictures, which were excellently handled. 
 
 His compofitions had a very ftriking effecl: ; his fubjects were well difpofed, and in 
 fome of his pictures he defigned an abundance of figures. In general, the grandeur of 
 his tafte in the trees and buildings, the richnefs of many of his ornaments, and a peculiar 
 tranfparence of the water, gave the eye of every beholder a Angular fatisfac"tion t 
 
 John MEYSSENS. 
 
 Painted Portrait and Hijlory, 
 
 'He was born'at BrufTels, in 1612, and at firft was taught the principles of painting by 
 Anthony van Opftal ; but afterwards he became a dilciple of Nicholas vander Horft. 
 When he commenced painter, he undertook both hiftory and portrait; but the latter feems 
 to have been his principal employment; and by having fuccefsfully painted the portraits 
 of Count Henry of Naflau, the Countefs of Stirum, the Count de Bentheim, and other 
 noble perfonages, his reputation for that ftyle of painting was effectually eftablifhed 
 through the Low Countries. 
 
 His remarkable excellence confided in his producing a very ftriking refemblance, in his 
 hnifhing his pictures with a great deal of care, and giving them a lively and good 
 cxpreflion. 
 
 MICARINO. Vid. Beccafiumi.' 
 
 Jan M I E L, called Giovanni della Vite. 
 Painted Hi/lory, Huntings^ and Converfations, 
 
 DIED 1664, AGED 65. 
 
 This eminent artift was born in Flanders, in 1599, and at firft was a difciple of 
 Gerard Segers, in whofe fchool he made a diftinguifhed figure; but he quitted that artift, 
 and went to Italy, to improve himfelf in the tafte of defign, and to obtain a more 
 extenfive knowledge of the feveral branches of his art. 
 
 Ggg At 
 
M 1 K 
 
 [ 408 3 
 
 M I E 
 
 At Rome he particularly fludied and copied the works of the Caracci, and Correggioi 
 and was admitted into the academy of Andrea Sacchi, where he gave fuch evident proofs 
 of extraordinary merit and genius, that he was invited by Andrea to affift him in a grand 
 defign, which he had already begun. But Miel, through fome difguft, rejected thofe 
 elevated fubjects which at firft had engaged his attention; refufed the friendly propofal of 
 Sacchi ; and chofe to imitate the ftyle of Bamboccic, as having more of that nature which 
 pleaied his own imagination. 
 
 His general fubjects were huntings, carnavals, gypfies, beggars, paftoral fcenes, and' 
 conventions ; of thofe he compofed his eafel pictures, which are the fineft of his 
 performances. But he alfo painted hiftory in a large fize, in frefco and in oil ; which, 
 though they feem to want elevation of defign, and a greater degree of grace in the heads, 
 yet appear fuperior to what might be expected from a painter of fuch low fubjects as he 
 generally was fond of reprefenting. 
 
 His pictures of huntings are particularly admired ; the figures and animals of every 
 fpecies being defigned with uncommon fpirit, nature, and truth. The tranfparence of 
 his colouring, and the clear tints of his fkies, enliven his compofitions ; nor are his 
 paintings in any degree inferior to thofe of Bamboccio, either in their force or luftre. 
 His large works are not fo much to be commended for the goodnefs of the defign, as for 
 the expremon and colouring i but it is in his fmall pieces that the pencil of Miel appears 
 in its greateft delicacy and beauty. 
 
 The Angular merit of this mafter recommended him to the favour of Charles Emanuel 
 Duke of Savoy, who invited him to his court; where he appointed Miel his principal 
 painter, and afterwards honoured him with the order of St. Mauritius, and made him 
 a prefent of a crofs fet with diamonds of a great value, as a particular mark of his efteem. 
 
 Many capital pictures of this mafter, in his beft ftyle, are faid to be in the Imperial 
 collection at Vienna; and at * Turin, in a grand falon of the Venerie, are feveral of 
 his nobleft performances. They reprefent the chace of various animals in different views ; 
 fome purfued, others killed, and the huntfman returning from the fport. In thofe com- 
 pofitions there are a great number of figures ; and although they are drefled in the mode of 
 the times, yet the fubject is treated in a grand ftyle, and the colouring is lively and ftrong, 
 though fomewhat darkened by time. • 
 
 Francis MIERIS, the Old. 
 Painted Portraits, Converfations, and Still Life. 
 
 DIED l6&I, AGED 46. 
 
 This admirable painter was born at -fLeyden, in 1635, and was at firft placed under 
 the direction of Abraham Toorne Vliet, one of the beft defigners of the Low Countries; 
 
 with 
 
 * Mr. Cochin, who is a very judicious writer, by miftake, calls this mafter Daniel Miel, infiead of Jan Miel, which 
 ** jS really his name. 
 
 f Mr. Defcamps muft certainly be miftaken, in faying that Mieris was born at Delft; as Houbraken, De Piles, and 
 all the beft authors, aflert that he was born at Leyden. 
 
M I E 
 
 I 409 f 
 
 M I E 
 
 with whom having made a remarkable progrefs, while he continued in tiiat fchool, he 
 entered himfelf as a difciple with Gerard Douw. In a ftiort time he far furpafTed all his 
 companions, and was by his mafter called the Prince of his Difciples. But, as he feemed 
 ftill eager to improve himfelf in penciling, he went for a few months to ftudy with Adrian 
 Vanden Tempel ; till he found his expectations not anfwered, and then he returned to 
 Gerard Douw, whofe tafte and genius correfponded more nearly with his own ; and he 
 continued with him, till he wanted no farther improvement, except to ftudy after nature. 
 
 He had an unufual fweetnefs of colouring, a neat and wonderfully delicate touch, and 
 the fame tranfparence that characterizes the paintings of Douw. But he is allowed to 
 be fuperior to that mafter, in many refpects j being more delicate and extenfive in his 
 defign, and more correct in his drawing. His colouring is more clear, his touch more 
 animated, and his pictures have more frefhnefs and force. His manner of painting filks, 
 velvets, fluffs, or carpets, was fo fingular, that the different kinds and fabrick of any of 
 them might eafily be diftinguifhed. His pictures are rarely to be feen, and as rarely to 
 be fold; and when they are, the purchafb is extremely high, their intrinfic value being fo 
 inconteftably great. 
 
 Beiide portraits, his general fubjedts were converfations, perfons performing on mufical 
 inftruments, patients attended by the apothecary or doctor, chymifts at work, mercers' 
 mops, and fuch like; and the ufual valuation he fet on his pictures, was eftimated at the 
 rate of a ducat an hour. 
 
 Houbraken mentions an incident in the life of this artift, which, as it tends much 
 to his honour, by fhewing the grateful fpirit of Mieris, as well as his generofity, may not 
 be unacceptable to the reader. Mieris had conceived a real friendfhip for Jan Steen, and 
 delighted in his company, though he was by no means fond of drinking as freely as Jan 
 coveted to do every evening at the tavern. He often pafTed whole nights with his friend 
 in a moft joyous manner, and frequently returned very late to his lodging. 
 
 One evening, when it happened to be extremely dark, and almoft midnight, as Mieris 
 returned home from the tavern, he unluckily fell into the common fewer, which had been 
 opened in order to cleanfe it, and the workmen had left it unguarded. There he muft 
 have perifhed inevitably, if a cobbler and his wife, who worked in a neighbouring ftall, 
 had not heard his cries, and inftantly ran to his relief. They took all poflible care of him 
 for that night, affifting him in every point obligingly, and procured him the beft refrefh- 
 ment in their power. 
 
 The next morning Mieris, having thanked his prefervers v took his leave of them ; but 
 particularly remarked the houfe, that he might know it another time. The poor people 
 were totally ignorant of the perfon who had been relieved by them ; but Mieris had too 
 grateful a fpirit to forget his benefactors ; and having painted a picture in his beft manner, 
 he brought it to the cobbler and his wife, telling them it was a prefent from the perfon 
 whofe life they had contributed to fave; and defired them to carry it to his friend 
 Cornelius Plaats, who would give them the full worth of it. The woman, unacquainted 
 with the real value of the prefent, concluded (he might receive a moderate gratuity for the 
 
 G g g 2 picture 3 
 
M I E 
 
 f 410 3 
 
 U I E 
 
 picture j but her aftonifhment was inexpreflible, when fhe experienced the liberality of 
 the giver, by receiving for it fo large a fum as eight hundred florins. 
 
 The fineft portrait of this mafter's hand, is that which he painted for the wife of 
 Cornelius Plaats, which is ftill preferved in the family, although very great funis have 
 been offered for it. In the pofleflion of the fame gentleman was another picture of 
 Mieris, reprefenting a lady fainting, and a phyfician applying the remedies to relieve her. 
 For that performance be was paid (at his ufual rate of a ducat an hour) fo much money 
 as amounted to fifteen hundred florins, when the picture was finifhed. The Grand Duke 
 of Tufcany wifhed to purchafe it, and offered three thoufand florins for it, but the offer 
 was not accepted. However, that Prince procured feveral of his pictures, and they are, 
 At this day, an ornament to the Florentine collection. One of the moft curious of them, 
 is a girl holding a candle in her hand ; and it is accounted ineftimable. 
 
 John MIERIS. 
 Painted Portraits and Conversations. 
 DIED 169O, AGED 30. 
 
 He was the eldeft fon of Francis Mieris, born at Leyden, in 1660, and learned the 
 art of painting from his father. He was ftimulated to exert the utmoft efforts of his 
 genius, to arrive at eminence in his profeflion, by having the example of his father per- 
 petually before him, and the abilities of his younger brother to excite his induftry j. as 
 that young artift had already begun to diftinguifh himfelf. Yet, John Mieris neither 
 imitated the manner of the one nor the other j for he could not hope to pofTefs the patient 
 perfeverance which his father mewed, in finifhing his pictures as highly as he did j and 
 as his brother William painted in fmallj he determined to paint in a large fizc, to avoid 
 competition. 
 
 Francis appeared very defirous to place his fon John with fome very eminent hiftorical 
 painter, and particularly with Gerard Laireffe, whofe works he held in the higheft 
 efteem. But as he knew him to be a man of a diflblute life and corrupt morals, he was 
 unwilling to rifk the virtue of his fon, who might perhaps be deluded into vice, by the 
 power of a bad example > and therefore he undertook that employment himfelf, affording 
 him all the aids in his power, and laid before him thofe models from which he had 
 formed his own fuccefsful manner. 
 
 The young artift unhappily was feverely afflicted with the gravel and ftone, and, by 
 thofe complaints, was much hindered in the progrefs of his ftudies. But, after the death 
 of his father, he travelled to Germany, and from thence to Florence, where the fame of 
 his father's merit procured him a moft honourable reception from the Grand Duke, who, 
 when he faw fome of his paintings,, endeavoured to retain him in his fervice ; but Mieris 
 politely declined it, and proceeded to Rome, where his great abilities were well known 
 before his arrival, ajid his works were exceedingly coveted. 
 
 In 
 
M I E 
 
 C 4» ] 
 
 M I E 
 
 In that city his malady increafed ; yet, at the intervals of eafe, he continued to work 
 with his ufual application, till the violence of his diftemper ended his days, when he was 
 only thirty years old ; and he was allowed to have been as eminent for painting in a large 
 fize, as his father had been for his works in fmall. 
 
 William MIERIS, called the Young MIERIS, 
 Painted Hijlory, Conversations ^ and Landfcapes. 
 DIED 1747, AGED 85. 
 
 He was the fon and difciple of Francis Mieris, born at Leyden, in 1662 ; and, daring 
 the life of his father, made a remarkable progrefs; but by being deprived of his director, 
 when he was only arrived at the age of nineteen, he had recourfe to nature, as the moft 
 inftructive guide; and by ftudying with diligence and judgment to imitate her, he 
 approached near to the merit of his father. 
 
 At firft he took? his fubjedts from private life, in the manner of Francis, fuch as 
 tradefmen in their fhops, or a peafant felling vegetables and fruit, and fometimes a woman 
 looking out at a window ; all which he copied minutely after nature, nor did he paint a 
 fingle object without his model. One of his firft attempts was a picture reprefenting a 
 woman feeding her child, and another ftanding by, encouraging it to eat ; the father fits 
 by the fire, attentive to the actions of other children, and the chamber is neatly furnifhed, 
 The whole is finifhed with the moft exquifite art and delicacy, and that fingle picture 
 eftablifhed his reputation. 
 
 As Mieris had obferved the compofitions of Gerard Laireffe and other great hiftorical 
 painters with angular delight, he attempted to defign fubjects in that ftyle; and began 
 with the ftory of Rinaldo fleepingon "the lap of Armada, furrounded with the Loves and 
 Graces, the fore-ground being enriched with plants and flowers. That: work, proved a 
 new addition to the fame of this celebrated mafter, being fold for a very great price; and 
 it was fo highly admired, that he was prevailed on to repeat the fame fubjedt for three 
 other perfons of diftinction, though, in every picture he took care to make fome fmall 
 alteration. 
 
 This mafter alfo painted landfcapes and animals, with equal truth and neatnefs ;. and 
 modelled in clay and wax in fo fharp and accurate a manner, that he might juftly be 
 ranked among the moft eminent fculptors. In the delicate finifhing of his works, he 
 imitated his father, as he likewife did in the luftre, harmony, and truth of his paintings, 
 which makes them to be almoft as highly prized ; but they are not equal in refpect of 
 defign or of the ftriking effect, nor is his touch fo very exquifite as that of the father. 
 The works of the old Mieris are better competed, the figures are better grouped, and 
 they have lefs confunon; yet the younger Mieris is acknowledged to be an artift of 
 extraordinary merit, although inferior to him, who has fcarcely his equal. 
 
 Francis 
 
M I E 
 
 f 41* ] 
 
 M I G 
 
 Francis MIERIS, called the Young Francis. 
 
 Painted Conventions, Portrait, and Still Life. 
 
 He was the fon of William, and the grandfon of the celebrated Francis Mieris ; and 
 was born at Leyden, in 1689. He learned the art of painting from his father, whofe 
 manner and ftyle he always imitated; he chofe the fame fubjects, and endeavoured to 
 refemble him in his colouring and pencil. But, with all his induftry, he proved far inferior 
 to him j and moft of thofe pictures which at the public fales are faid to be of the young 
 Mieris, and many alfo in private collections, afcribed to the elder Francis or William, 
 are perhaps originally painted by this mafter, who was far inferior to both, or are only 
 his copies after the works of thofe excellent painters, as he fpent abundance of his time 
 in copying their performances. 
 
 Nicholas MIGNARD, called of Avignon. 
 Painted Hi/lory and Portrait, 
 
 DIED l668, AGED 60. 
 
 He was born at Troyes, in 1608, and inftructed in defign and colouring by the beft 
 painter in that city, to whom Mignard proved himfelf to be much fuperior in a fhort 
 time ; and therefore, to acquire a greater degree of knowledge, and an improved tafte, 
 he ftudied after thofe antiques which were at Fontainbleau, and alfo after the paintings of 
 Primaticcio and Roflb, which were preferved in that palace. But he finifhed his ftudies 
 at Rome, where he refided for two years ; being very much aided in his obfervations and 
 practice by the concurrent advice of Frefnoy and his brother Peter Mignard. 
 
 He painted a great number of portraits; but his genius inclined him more ftrongly to 
 hiftorical compolitions, and particularly to poetic fubjects. He had a good invention, 
 but no great fire of imagination ; though he compenfated in fome degree for that defect, 
 by the corredtnefs and neatnefs of his pictures. His colouring was agreeable, his 
 carnations were lively, his ideas fometimes elevated, and abundance of union and harmony 
 appeared in his works. 
 
 For feveral years he refided at Avignon, but was induced to leave that city, being 
 invited to the Court of France ; and at the time of his death he was Rector of the Royal 
 Academy at Paris. A great number of the works of this mafter are in the palace of the 
 Thuilleries. 
 
 Peter MIGNARD, called The Roman. 
 Painted Portrait and Hi/lory, 
 
 DIED 1695, AGED 85. 
 
 He was the younger brother of Nicholas Mignard, born at Troyes, in 1610, and 
 placed as a difciple in the fchool of Vouet ; but having an opportunity of feeing fome 
 
 capital 
 
M I G 
 
 [ 4i3 ] 
 
 M I G 
 
 capital paintings of the Italian mailers, he quitted the fchool of Vouet, and went to 
 Rome, to ftudy after Raphael, Michael Angelo Buonorati, and Annibal Caracci ; and 
 endeavoured to transfufe into his own compofitions whatever appeared to him excellent 
 in each of thofe artifts, as far as his genius and talents would permit. He ftudied with 
 his brother at Rome ; and by having fpent in that city twenty-two years, and alfo by his 
 manner of defigning fo much in the tafte of the Italian fchool, he was diftinguifhed by 
 the name of The Roman. 
 
 He was generally allowed to have a finer genius than Nicholas, and in feveral refpedts 
 to excel him, and had the honour to paint the portraits of Urban VIII. and Alexander VII* 
 befide many of the Nobility at Rome j and being invited to Paris by Lewis XIV. he 
 returned through Tufcany, Modena, and Parma, and was fo far diftinguifhed by the 
 Princes of thofe feveral cities, that he painted the portraits of themfelves and their 
 illuftrious families. In France his patron Lewis fat to him ten times for his portrait, 
 and had fuch a refpect for the talents and accomplifhments of Mignard, that he ennobled 
 him, and, after the death of Le Brun, appointed him principal painter and director of the 
 man u factories. 
 
 The colouring of this mafter was in general good j he was rich in his ordonnances ; 
 and thofe paintings which are at St. Cloud, may be fufficient to fhew the extenfivenefs 
 of his abilities, as alfo to recommend him as a painter of confiderable eminence. 
 
 Abraham M I G N O N, or M I N J O N. 
 
 Painted Flower s, Infefts, Fruity and Still Life. 
 
 DIED 1679, AGED 40. 
 
 This delicate painter was born at Frankfort, in 1639 ; and his father having been 
 deprived of the greateft part of his fubftance by a feries of lofTes in trade, left his fon in 
 very neceflitous circumftances, when he was only feven years of age. From that 
 melancholy fituation he was refcued, by the friendfhip of James Murel, a flower-painter 
 in that city, who took Mignon into his own houfe, and inftructed him in the art, till he 
 was feventeen years old. Murel had often obferved an uncommon genius in Mignon, and 
 therefore he took him along with him to Holland, where he placed him as a difciple with 
 David De Heem; and while he was under the direction of that mafter, he laboured with 
 inceflant application to imitate the manner of De Heem, and ever afterwards adhered to 
 it ; only adding daily to his improvement, by ftudying nature, with a raoft exact and 
 curious obfervation. 
 
 When we confider the paintings of Mignon, we are at a- lofs whether moft. to admire 
 the frefhnefs and beauty of his colouring, the truth in every part, the bloom on his 
 objects, or the perfect refemblance of nature vifible in all his performances. He always 
 mews a beautiful choice in thofe flowers and fruits from which his fubjects are compofed, 
 and he groupes them with uncommon elegance. His touch is exquifitely neat,, though 
 apparently eafy and unlaboured ; and he was fond of introducing infects among the fruits 
 2 and 
 
M I L • [ 414 ] MIL 
 
 and flowers, wonderfully fmiflied, fo that even the drops of dew appear as round and as 
 translucent as nature itfelf. 
 
 He had one degree of happinefs fuperior to many artifts of great merit, which was, 
 the being highly paid for his works in his life-time j and he certainly would have been 
 accounted the beft in his profeflion, even to this day, if John Van Huyfum had not 
 appeared. But that mafter not only excels Mignon, but furpafles all others in that ftyle 
 of painting fo far, fo eminently, in the fweet diftribution of his lights, and in giving 
 fuch life and brightnefs to every object, that he alone feems to be above all competition. 
 
 Weyerman, who had feen many admired pictures of Mignon, mentions one of a molt 
 capital kind. The fubject of it is, a cat which had thrown down a pot of flowers, and 
 they lie fcattered on a marble table. This picture is, in every refpect, fo wonderfully 
 natural, that the fpectator can fcarce perfuade himfelf that the water which is fpilled from 
 the veflel is not really running down frqm the marble. This picture is diftinguifiied by 
 the title of Mignon's Cat. 
 
 Gioseffo Maria MILANI. 
 Painted Hijlory, Perfpeclive, and Architecture- 
 
 This mafter was born in 1678, and learned defign from Camillo Ga-brielli, who had 
 been a difciple of Pietro da Cortona, and became a conftderable painter. When he 
 quitted the fchool of Camillo, he applied himfelf diligently to ftudy perfpective, and 
 made defigns after the moft magnificent buildings, ancient and modern, that merited his 
 attention in Pifa and other cities of Italy. Thofe he applied occafionally in his own 
 compofitions, and gained great reputation by the truth and grandeur of the architecture 
 which he introduced in his paintings. 
 
 His figures were defigned in an elegant ftyle;" but he feemed to borrow too many hints 
 from the works .of Pietro da Cortona, fo as to be accounted a plagiary in that refpect. 
 His colouring was in a good tafte; his fiifpofition was. efteemed judicious, his perfpective * 
 remarkably fine, and he had a great deal of union and harmony. 
 
 At Pifa, in the church of St. Matthew, there is a cieling painted by this mafter; the 
 compofition is noble, and has a very great effect ; the difpofition of the feveral groupes 
 is extremely good, and the architecture is excellent. But many of the figures are taken 
 from Cortona ; and the glory which is reprefented in the defign, appears rather too yellow. 
 However, although particular parts may juftly be cenfurable, the whole together is 
 ftriking and beautiful. 
 
 Francesco MILE, or MILLEE, called Francis qjje. 
 Painted Landfcapes and Hijlory. 
 
 DIED l68o, AGED 36. 
 
 He was born at Antwerp, in 1644, and was, at a very early age, placed under the 
 direction of Laurentius Franck, with whom he ftudied induftrioufly ; and fhewed fo apt 
 
 5 a genius, 
 
M I N 
 
 C 4iS 3 
 
 M 1 N 
 
 a genius, that in a few years he became equal to his matter. At that time he eftablifhed 
 a firm friendfhip with Genoels ; they ftudied together after nature, and increafed each 
 other's ardour to excel in the art, by a friendly and generous emulation, by an unreferved 
 communication of their ideas, fentiments, and obfervations, which in the end rendered 
 them both very eminent. 
 
 Mile was remarkable for having a moft tenacious memory ; fo that whatever fcene, 
 building, ruin, or river, he obferved in nature, or whatever defigns of any other mafter 
 engaged his attention, they became ever after fo ftrongly impreffed on his memory, that 
 he never forgot it. But what ftill was more extraordinary, he could readily recollect the 
 lhape and form of any particular cloud, or thofe tints in the flcies, and evanefcent 
 beauties, which pleafed his eye and imagination, fo as to reprefent them at any diftance 
 of time, with all the truth and force of nature. 
 
 He travelled through England, Holland, and France; and in each country, left fufficient 
 evidence of his excellence in the art. His landfcapes fhew that he made Poullin his 
 model, moft of them being defigned in the ftyle of that mafter ; and he adorned them 
 with figures elegantly defigned, and difpofed judicioufly. His favourite ftudy was 
 heroic landfcape, like Nicolo Pouffinj and whatever hiftorical fubject he reprefented, he 
 took pains to adapt the fcenes of his landfcapes to it, with great fkill and propriety. His 
 pencil is light, his tone of colour agreeable in many of his pictures, and his manner is 
 exceedingly pleafing j but his pictures generally have no great effect, as they have 
 not a proper body of light, or at leaft the light is fo managed, that they ufually appear 
 too brown, and too much of one colour. 
 
 His beft works, however, have an abundance of merit in many refpects, as well in 
 the tafte and correctnefs of defign, in the freedom of pencil, and the pleafing tints of 
 colouring, as in the figures and the keeping. It, was a lofs to the art, and to the world, 
 that he was poifoned by fome of his own profeflion, who envied his merit ; and in what- 
 ever fhape the poifon was adminiftered to him, it for fome time deprived him of his 
 reafon, and foon after of his life. A very agreeable landfcape of Mile, and perhaps one 
 of his beft ftyle, is in the collection of the Earl of Moira. 
 
 MINDER HOUT, 
 
 Painted Sea-Ports and Landfcapes. 
 
 He was born at Antwerp, about the year 1637, but followed his profeflion at Bruges ; 
 and was admitted into the fociety of painters in that city, in 1662- His fubjects were 
 fea-ports and harbours, with a great number of veffels and figures, efpecially the 
 profpect of different ports in the Netherlands; but very often he painted the particular 
 views of Antwerp and Bruges. He feemed to have taken a fingular delight in ftudying 
 the conftruction of all kinds of fhipping, as the drawing and defign of all the veffels he 
 painted appear to be copied from nature with great precision. 
 
 H h h Being 
 
MIR [ 416 ] M I R 
 
 Being very induftrious, he painted a great number of pictures, which. in general had 
 a good effect, though not always an equal proportion of merit j for, fome of them cannot 
 be too highly prized j whilft others are fo flight, as to be very little more than Iketches. 
 unfinifhedi and the figures, as well as the ikies, are but very indifferent. 
 
 Michael Jan sen MIREVELT. 
 Painted Portrait and Hi/lory. 
 
 DIED 164I, AGED 73. 
 
 He was born at Delft, in 1568, and was a difciple of Anthony Blochland. For fome- 
 time he employed his time in painting hiftorical fubjects ; but, finding a continual demand, 
 and a very profitable return for portraits, he gradually difcontinued the former, and- 
 adhered to the latter. 
 
 He ftudied and imitated nature happily, gave a ftrong refemblance to his portraits, 
 finiflied them highly, and defigned them in a good taffe. His pencil is free, his touch 
 has abundance of neatnefs, and the merit of his performances hadfo effectually fpread his 
 reputation, that he was invited to the court of London by King Charles I though, as 
 the plague raged at that time through all parts of London and its environs, he was 
 prevented from accepting an offer which was fo much to his honour, as well as his intereft. 
 He lived entirely at Delft, and never quitted that city, except at particular times, when 
 he went to the Hague, to paint the portraits of fome of the Princes of Naffau, by whom 
 he was exceedingly efteemed. 
 
 It may readily be conjectured, that the works of Mirevelt muft have been extremely 
 admired, when the extraordinary number of his paintings are confidered; which, accord- 
 ing to Houbraken, amounted to * five thoufand; for the fmalleft of which he never was 
 paid lefs than a hundred and fifty guilders, about fifteen pounds fterling ; and for tliofe of 
 a larger fize, half or whole lengths, his price was proportionably enlarged. 
 
 Peter MIREVELT. 
 Painted Portrait. 
 died 1632, aged 36. 
 He was the fon of Michael Mirevelt, born at Delft, in 1696. In his manner of defign, 
 in his ftyle of colouring, and in the delicacy of his pencil, he exactly refembled his 
 
 father j 
 
 * Sandrarr, and after him Defcamps, and the authors of the Abrege, &c. affirm, that Mirevelt painted above ten 
 thoufand portraits, an incredible number for one hand to finifhj but Houbraken, wi h much greater probability, limits 
 the number to five thoufand. Sandfart alfo fays, he lived to be 90 years of age, though all other writers agree that 
 he died at 73. . 
 
 The author of the Abrege de la Vie des Peintres, vol. 3, p. 102, fixes the birth of Mirevelt in 15S8, and then fays, 
 he died in 1641, at the age of 73} which muft be an overfight. For, according to thofe dates, he could have been 
 only 53 in the year 1641 j a id fuppofing him to die at 73, he muft have died in 166 j, contrary to the teftimony of 
 »U writers. 
 
M O E 
 
 t 4i7 ] 
 
 M O L 
 
 father; and by the beft judges of that time, he was accounted to be in no degree 
 inferior to him. 
 
 Jacob MOELART. 
 
 Painted Hijlory and Portrait* 
 
 DIED I'/27, "AGED 78. 
 
 He was born at Dort, in 1649, and learned the art of painting from Nicholas Maas, 
 with whom he continued for feveral years. Neither labour, nor great ftudy, were 
 wanting in this mafter, to acquire a competent knowledge in his profeffion ; he obferved 
 nature with a great deal of care; and at length was efteemed a good painter, both of 
 hiftory and portrait. 
 
 Houbraken mentions two hiftorical compofitions of Moelart ; the one, Pharaoh and his 
 hoft drowned in the Red Sea; and the other, Mofes ftriking the Rock ; both of them 
 having feveral particulars that deferve commendation. 
 
 Pietro Francesco MOLA. 
 Painted Land/cape and Hi/lory. 
 * died 1665, aged 56. 
 
 He was born at Lugano, a city belonging to ' the Switzers, in 1609; and having 
 travelled to Rome, he was at firft inftructed by Giufeppe D'Arpino, and afterwards 
 became the moft diftinguifhed difciple of Albano. But, having obferved with admiration 
 the grand effect produced by the colouring in the works of Guercino, he went to Venice, 
 and applied himfelf with great ardour and accuracy to ftudy the paintings of Titian, 
 Tintoretto, Baflan, and Paolo Veronefe. He formed for himfelf a peculiar ftyle, that was 
 elegant, bold, and beautiful, which fpread his reputation through all Italy ; and he found 
 immediate employment, every work he finiflied contributing to his honour and applaufe. 
 In Rome feveral churches and chapels were enriched with hiftorical pictures, defigned by 
 him. from the facred writings; and for the Pope, Alexander II. he painted the hiftory of 
 Jofeph and his brethren, for which he received the greateft encomiums, befide a noble 
 recompence from his employer. 
 
 Although Mola painted hiftory, in frefco and in oil, with fuch great fuccefs ; yet, his 
 genius principally inclined him to landfcape, in which he was uncommonly excellent. 
 His fcenes are generally folemn, his trees defigned in a grand ftyle, and his diftances 
 conducted with judgment, and with a look of true nature. [His defign is very correct ; 
 
 H h h 2 and 
 
 * In the Mufeum Florentinum, the death of Mola is fixed in 1666, at the age of 45, by which computation he is 
 fuppofed to be born in 1621 ; but it appears from other writers, that he certainly was born in 1609, and died at 56 years 
 ofage in i665. Likewife the author of the Abrege de la Vie des Peintres, vol. 1, p. 313, fays, that Mola was born at 
 •Coldra, in the diftrift of Como, in 1621, though moll authors agree, that he was born at Lugano, in 1609. 
 
M O L f 418 ] MOL 
 
 and the figures with which he has adorned his landfcapes, are in a fine tafte, and have a 
 good expreflxon; though fometimes he feems to make the dark parts of his pictures 
 a little too black. His imagination was lively, his invention ready and fertile ; and in 
 his defign,as well as his penciling, he always fhews an abundance of fpirit and freedom. 
 
 Two very noble pictures by Mola are in the church of Santa Maria della Vittorja, at 
 Milan : one is the reprefentation of St. John in the Defert, in which the figure is defigned 
 with as much nature and truth as is poflible, and finely coloured j the other reprefents 
 St. Paul the Hermit, in which the figure is truly fine, the landfcape has a charming effect, 
 and the trees are painted in a grand tafte, with large fpreading branches, in the ftyle of 
 Salvator Rofa. 
 
 Giovanni Battista MOLA. 
 
 Painted Mijlory and Landfcape* 
 
 This artift, who was brother to Francis Mola, was born in 1620, and learned the art 
 of painting in the fame fchool, both of them having been difciples of Albano. He proved 
 a very good painter in the hiftorical ftyle, as well as in landfcape y but was far inferior to 
 'his brother, in ftyle, dignity, tafte, and colouring. Giovanni Battifta, in his manner, had 
 more refemblance to the ftyie of his mafter Albano, than to that of the illuftrious Francefco ; 
 yet his figures are rather hard and dry, and want the mellownefs of Albano. However, 
 there are four of his pictures in the Palazzo Salviati, at Rome, which are univerfally taken 
 for the hand of Albano. 
 
 Peter MOLYN, called Cavaliere Tempest a, and alfo 
 
 PlETRO MlILIER. 
 
 Painted Huntings^ Landfcapes-^ Sca-Fiews, and Storms, 
 
 DIED 1701, AGED 64. 
 
 He was born at Haerlem, in 1637, (though in the Chronological Tables his birth is 
 fixed in 1640) and at firft imitated the manner of Francis Snydersj fo that, while he 
 continued in his own country, he painted huntings of different animals, as large as life, 
 with fingular force and fuccefs. But afterwards he changed his ftyle, and followed the 
 impulfe of his natural genius, which inclined him to paint tempefts, ftorms at fea, and 
 fhipwrecks, with fuch circumftances as are apt to excite pity and terror > and thofe fubjects 
 he executed in a free, natural, and fpirited manner, fo as to procure himfelf the diftinction 
 of being called Peter Tempefta. 
 
 He travelled through Holland, to obferve the works of the beft Flemifh artift s ; and 
 then went to Rome, in order to change his religion from Calvinifm to Popery, as well as to 
 obtain improvement in his profeffion of painting. In that city, his merit recommended 
 him to the favour of many of the Nobility ; and fecured to him the friendfhip of the Count 
 Bracciano, who became his patron and protector. Thofe of the firft rank employed him 
 incefiantly; for whom he painted his ufual fubjefts of animals and landfcapes, with the 
 
 r utmoft 
 
MOM t 4i9 J MOM 
 
 utmoft applaufe. At Iaft he grew rich, was exceedingly carefled, and received from his 
 patron the title of Cavaliere, as alfo a chain of gold. 
 
 Having fpent feveral years at Rome, he determined to vifit Genoa, where the reputation 
 he had already acquired, obtained for him a raoft honourable reception, and as much work 
 as he could poflibly execute. There he might have lived in an affluent fituation, fuperior 
 even to his hope, if he had not unhappily grown not only diffolute, but unpardonably 
 vicious. He fell deeply in love with a Genoefe lady, and left no art untried to debauch 
 her; but finding all his attempts ineffectual, he propofed to marry hers although it was 
 fufficiently known in Genoa, that he had been married at Rome for a confiderable time 
 before, and that his wife was then alive, refiding in that city. 
 
 When that objection was urged by the lady and her friends, he was exceedingly 
 mortified j and refolved to have his wife affaffinated, to remove that obftruction. A perfon 
 proper for the villainous purpofe was foon engaged ; and, to conceal the tranfaction as 
 much as pofiible from public notice, he wrote an affectionate letter to his wife by that 
 meflenger, requeuing her to accompany the bearer to Genoa. As file had a real 
 affection for her hufband, and wifhed to be with him, me readily obeyed his commands, 
 and was murdered on her journey. 
 
 Yet, notwithftanding the fecrecy of that fcene of cruelty, the affair became fufpected, 
 and Tempefta was directly feized, imprifoned, and, after full conviction, was fentenced to 
 be hanged. But, by the intereft and application of the Nobility, who regarded him highly 
 for his extraordinary talents, the feverity of the fentence was fufpended, and he was 
 retained in prifon for a great length of 4jme ; nor would he probably have ever been 
 releafed, had it not been effected by a very critical accident: for, when Lewis XIV. 
 bombarded Genoa, all the prifons were fet open, and Tempefta laid hold of that 
 opportunity to efcape to Placentia, after a confinement of fixteen years. From this affair 
 he was nick-named Pietro Mulier, or de Mulieribus, by which he was ever after known 
 throughout all Italy. 
 
 It was obferved, that the pi&ures which he painted in prifon, where he very diligently , 
 followed his profeffion, were accounted more excellent, in regard to their tafte, compofition, 
 and colouring, than any of his preceding performances. 
 
 A capital picture of this-mafter is in the poffeffion of Count Algarotti; the fubject is, 
 Noah leaving the ark after the flood. The animals, of which there are a great number, 
 are well defigned, as likewife are the figures and the exprefilon is exceedingly good. 
 It is difficult to meet with any of the genuine works of Tempefta, moft of them being 
 preferved, and highly valued in Italy j and when they are to be purchafed, they generally 
 afford a large price. 
 
 Joos, or Jo doc us MOMPERT. 
 Painted Landfcape. 
 
 He was born in 1580; but authors are filent in regard to the place of Mompert's 
 nativity: nor do any of them mention the mafter by whom he was inftructed in the art 
 
 of 
 
M O N 
 
 t 420 ] 
 
 M O N 
 
 of painting ; but his works are fufficiently known in many parts of Europe. He ftudied 
 after nature, and became a confiderable painter of landfcape ; his pictures fhew a great 
 freedom of pencil, -and his grounds are frequently well broken j but there is a certain 
 ftiffhefs in his compofitions, which cannot be pleafing to a judicious eye, though in feveral 
 other refpects he is juftly commendable ; and fuch of his works as are carefully finiftied, 
 have many admirers. 
 
 Though fome of the paintings of Mompert are well handled, and penciled with 
 tranfparence and neatnefs ; yet in general his pictures are not laboured, or highly finiftied, 
 but are intended to produce a good effect, at a competent diftance from the eye of the 
 fpectator. His landfcapes ftiew an immenfe tract of country, and the imagination is 
 often agreeably amufed with the extenfivenefe of the profpect, which is always well 
 conducted. However, the freedom of his touch feems, to moft obfervers, to have too much 
 the appearance of negligence ; and therefore the works of. Mompert are not in an equal 
 degree of efteem with the works of many of the Flemifti painters, who not only exprefs 
 the diftances in their compofitions agreeably, and like nature, but at the fame time render 
 them ftill more beautiful, by their careful and exquifite high finifhing. The pictures of 
 this mafter are very unequal ; for fometimes he appears worthy of being admired, and 
 fometimes he feems inferior to himfelf, and worthy of contempt. The figures in his 
 landfcapes were frequently inferted by Brueghel, as alfo by Teniers, who often retouched 
 thofe landfcapes, and by that means added to their value confiderably. 
 
 MONNICKS, *r MONNIX. 
 
 Painted Views of Rome, Markets^ and 'Converfatiom*. 
 
 DIED l686, AGED 80. 
 
 According to the teftimony of fome writers, this painter was born at the Hague ; but 
 others affirm, that he was born at Bois-le-duc, in 1606, and learned the principles of his 
 art in his own country} but having made a tolerable progrefs in defign and colouring, he 
 travelled through Italy, to ltudy the works of the moft eminent artifts, and at laft fettled 
 himfelf at Rome. There he refined his tafte of compofition and defign, and gradually 
 diverted himfelf of the greateft part of his Flemifh ideas and ftyle. He particularly 
 attended to perfpective, and acquired a great degree of elegance in that branch; but he 
 likewife ftudied inceflantly after nature, till he diftinguifhed himfelf in that city as an 
 artift of very great merit. 
 
 The Pope, having accidentally feen fome of the works of Monnicks, was fo exceedingly 
 pleafed with them, that he took him into his fervice with an honourable appointment, and 
 retained him as his painter for thirteen years. At Rome, and through all Italy, his pictures 
 were univerfally efteemed, not only for their being well executed, but becaufe they 
 reprefented the principal palaces, fquares, churches, monuments of antiquity, and grand 
 edifices of .modern architecture, which he copied exactly from nature, and, in the areas 
 before them, introduced figures employed in different occupations and amufements. 
 
 1 His 
 
Of 
 
 M O N- 
 
 [ 421 J 
 
 M O N 
 
 His fubjects were always views of the more noted parts of Rome, the Campo Vaccino, 
 the ftreets where the pillars of Antoninus and Trajan are erected, and the adjacent 
 buildings, the public fountains, the Coloffeum, and other noble fabrics ; together with 
 the reprefentation of herb or fruit markets, fports, carnavals, or proceffions. In the 
 choice of the fcenes of his pictures he fhewed an elegant tafte; the perfpective part is 
 firmly and truly executed ; his penciling is free, and in many parts delicate; and his 
 colouring is tranfparent, mewing alfo a good knowledge of the chiaro-fcuro. His figures 
 are well defigned, and well grouped ; and yet, in their air and countenances, appear fome 
 remains of the Flemifh ideas, not fufficiently refined. 
 
 His paintings are fomewhat fcarce in thefe kingdoms, as moft of his works were done 
 in Italy; though, in the latter part of his life, he followed his profeflion in his own 
 country, to which he returned when he was pretty far advanced, in years; but many of 
 his latter paintings are not equal in merit to thofe which he performed in the early or 
 middle time of his life* 
 
 A good picture of this mafter's hand is in the poffeflion of Thomas Cobbe, Efq. ilk 
 Dublin. 
 
 Francesco MONS'I GNORT. 
 Painted Hi/lory and Portrait. 
 
 DIED I5I9, AGED 64. 
 
 He was born at Verona, in 1455, and placed under the direction of Andrea Mantegna 
 of Mantua, to learn defign ; and by his excellent precepts Francefco acquired a good' 
 tafte for hiftorical compofition, and alfo an excellent manner of painting portraits. His 
 extraordinary talents procured him the efteem and patronage of the Marquis of Mantua, 
 who allowed him a large penfion, and employed him for feveral years. 
 
 The Marquis was not only a lover of the art, but he had alfo a nice and critical 
 judgment, which enabled him to examine the beauties and defects of a compofition with 
 tafte and delicacy. He was accuftomed to amufe and delight himfelf often in obferving 
 Monfignori at work, while he was employed in his fervice; and one day taking particular 
 notice of a picture, reprefenting the death of St. Sebaftian, the Marquis acknowledged 
 that every part of the defign was elegant, but objected, that the exprefiion of the figure 
 was not natural, as neither in the look, the limbs, nor the attitude, appeared the agony 
 that might be expected from a perfon in fuch a fituation, bound with cords, and pierced 
 with arrows. The painter afferted the truth of his defign, and endeavoured to juftify 
 his favourite figure, by affirming that he had taken every part of the figure from nature, 
 having engaged a well-fhaped porter for his model, who was tied in the very pofture 
 defcribed in the painting. 
 
 The Marquis defired to fee the porter in the proper pofition the next day, that it might 
 be determined which of them judged beft, according to truth and nature. As foon, 
 
 therefore,. 
 
MON [422] MON 
 
 therefore, as the Marquis was informed that the whole apparatus was ready, he ruQicd 
 fuddenly into the room, having in his hand a crofs-bow, fixed for execution; and with a 
 countenance diftorted with fury, he faid aloud to the porter, " Traitor ! prepare for 
 death! — you fhall die inftantly !" — As he approached, the porter, terrified almoft to death, 
 ftruggled, and ftrained every mufcle, joint, and limb, to difengage himfelf, and in every 
 line of his face expreffed the agony of his mind,' and the terror he felt for the death he 
 was to fufter. — " Now, (faid the Marquis mildly to the painter) compare your two 
 models; what he was yefterday, while unterrified; and what he is now, under the dread 
 of execution; and do -you determine which has the raoft of truth and nature, which 
 expreflion is mod fuitable to the fituation of Sebaftian." The painter profited by the 
 experiment, confeffed the juftnefs of the obfervation, altered his defign, and improved it 
 fo much, that it was allowed to be the moft capital of all his performances. 
 
 The works of Monfignori are exceedingly admired^for the elegance of defign, the 
 goodnefs of expreflion, and the extraordinary force which he gave to his figures, whether 
 they were portraits or hiftorical. 
 
 % 
 
 Deodate del MONT, Chevalier. 
 Painted Hi/iory and Portrait. 
 
 DIED 1634, AGED 53. 
 
 1 
 
 He was born at St. Tron, in 1581, of a noble family, and educated in a manner 
 fuitable to his rank; having from his infancy been inftructed in every branch of polite 
 literature, in aftronomy, geometry, natural philofophy, and different languages. As his 
 genius ftrongly inclined him to painting, he became the difciple of Rubens; he lived with 
 him for fome time in the clofeft connexion of friendfhip, and travelled along with him 
 to Italy; till, by the advantage he derived from fo aocomplifhed a companion and director, 
 and alfo by his own ftudious application, he proved an extraordinary artifl. 
 
 Rubens gave him a moft honourable teftimonial under his own hand, expreffing how 
 high an opinion he had of the abilities of his pupil, which introduced him to the favour 
 of Duke Albert and the Infanta Ifabella, and they readily received him into their fervice, 
 appointing him their principal painter and architect. His ftyle of compofition was 
 elevated and grand, his defign was correct, and in his colour and pencil he refembled his 
 mafter. 
 
 In the church of Notre Dame, at Antwerp, is a Transfiguration, excellently defigned 
 and coloured; and in the church of the Jefuits, in the fame city, a reprefentation of 
 Chrift bearing his Crofs : both are by the hand of Del Mont, and are accounted capital 
 performances. 
 
 Il MONTAGNA, Vid. Van Plattek. 
 
 PlETRO 
 
M ON [ 423 1 M O R 
 
 t 
 
 Pietro MONTANINI, called Petruccio Perugino. 
 
 Painted Landfcape. 
 
 y "V' ■ *% 
 
 DIED 1689, AGED 70. 
 
 He was born at Perugia, in 1619, and at firft was inftructed by his uncle Pietro 
 Barfotti j but he was afterwards placed as a difciple with Ciro Ferri. Yet he did not long 
 adhere to the manner of either of thofe mafters, choofing preferably to ftudy under Salvator 
 Rofaj and he imitated the ftyle of that celebrated painter, with exceeding great fuccefs. ^ 
 
 The tafte of his landfcapes was generally admired ; the rocks, fituations, torrents, and 
 abrupt precipices, were defigned with fpirit, and in a grand ftyle; his figures recom- 
 mended themfelves to the eye by a very uncommon corredtnefs, propriety, and elegance ; 
 and the whole of his compofition appeared to be greatly in the manner of Salvator. 
 
 Andrea MONTICELLI. 
 
 •jf* Painted Fruit, Flowers, and Still Life. 
 
 DIED I716, AGED 76. 
 
 He was born at Bologna, in 1640, and was a difciple of Agoftino Metelli. Of thofe 
 fubjects which fuited his fancy and genius, he was efteemed a good painter ; working with 
 equal expertnefs in oil and in diftemper. He painted fruit, vafes, carpets, flowers, 
 landfcapes, perfpective, and fcenery; and executed that variety of fubjects with a free 
 pencil, and very natural colouring. 
 
 Michael Angelo MONTICELLI. 
 
 s Painted Landfcapes and Battles. 
 
 He was born at Bologna, in the year 1678, and learned the principles of his art from 
 Domenico Maria Viani, a Bolognefe painter, of good reputation. The favourite fubje&s 
 of this mafter were battles and landfcapes, which he finiflied with great mellownefs of 
 colour, and a light free touch, ufually filling his defigns with a number of figures, well 
 defigned, and excellently difpofed. 
 
 Giovanni Maria IVJORANDI. 
 Painted Hijiory and Portrait, 
 
 * DIED I715, AGED 90. 
 
 This mafter was born at Florence, in 1625, and had for his firft inftru&or in the art 
 of painting, Sigifmund Coccapani; but he quitted that painter, to enter himfelf as a difciple 
 
 I i i in 
 
 * The author of the Mufeum Florentinum fays, he died In J7I7» at 95 years of age ; but there is a fmall error in his 
 computation : for being born in 1625, and fuppofing him to have died in 1 717, he could only have been 92, and not 95, 
 Other writers fix his birth in 1625, and his death in 1715, at the age of 90, which appears moft probable. 
 
«,** & i 
 
 M O R [ 3H 3 M O R 
 
 in the academy of Antonio Biliverti. As foon as he found himfelf qualified to purfue his 
 ftudies with advantage at Rome, he travelled thither; and after he had curforily furvev^d^ 
 the marvellous works of art repofited in that city, he deliberately fixed on thofe from 
 which he could hope for the greateft improvement; and endeavoured, by judicioufly 
 ftudying their particular excellencies, to imprefs the idea of their perfections fo firmly 
 on his memory, as to keep them perpetually prefent to his imagination. 
 
 By that advantageous method of ftudying, aided by diligent practice, he diftinguifhed 
 himfelf to fuch a degree, that he was invited to the Court of Vienna by the Emperor 
 Leopold I. where he painted the portrait of that Monarch, fo like, fo lively, and with 
 fuch a natural relief, that all the Imperial family fat to him ; and his reputation was fo 
 univerfally eftablifhed, that moll of the Princes of Germany folicited to be painted by 
 his hand. 
 
 He poflefled the moft excellent parts of his art in a very high degree ; correctnefs of 
 defign; elegance, and nature in his figures, whether hiftorical or portraits ; a, fine tafte 
 in his compofition; and a beautiful tone of colour. 
 
 MORAZZ. ONE. Vid. Mazuchielli. 
 
 Antonio MORE, Chevalier. 
 Painted Portrait and Hi/lory. 
 
 DIED 1575, AGED 56. 
 
 This eminent artift was born at Utrecht, in 1519, where he became a difciple of John 
 Schoorel ; and having made a confiderable progrefs under that mafter, he went to ftudy 
 for fome time at JRome, to improve himfelf in defign, and afterwards vifited Venice, to 
 difcover the true principles of colouring which rendered that fchool fo defervedly famous. 
 He imitated nature clofely, and often very happily; his manner is ftrong, true, and firm, 
 and his portraits have character and life. He feemed to ftudy Holbein, but he never 
 arrived at that delicacy of finiftiing which is obfervable in the works of that great mafter, 
 though he finifhed his pictures with abundance of care and neatnefs. He defigned with 
 accuracy, and his colouring had all the truth of nature itfelf; yet in ftrength and force it 
 was not equal to the colouring of Titian ; nor had his paintings that fpirit which appears 
 in the works of fome other artifts, there being fomewhat hard and dry in his manner. 
 
 However, he excelled in fome hiftorical compoiitions, though they were not defigned 
 in the grand gufto; and one of them (in the pofieflion of the Prince of Conde), of which 
 the fubject is the Refurrection, was exhibited as a ftiow at the fair at St. Germains, 
 before it became the property of that Prince. 
 
 He was particularly efteemed by the Emperor Charles V. and was ;by his order fent to 
 the Court of Portugal, to paint the portraits of the King; the Queen, who was fifter to 
 the Emperor; and their daughter, who afterwards was Queen of Spain. In that kingdom 
 he received the greateft honours and rewards. For the three portraits he was paid fix 
 
 hundred 
 
M O R [ 425 ] M O R 
 
 hundred ducats, befides many valuable prefents ; and the Portuguefe Nobility prefented 
 him, in the name of that Order, with a chain of gold valued at a thoufand ducats. 
 Mod of the Princes of Europe employed him, and at every Court his paintings were* 
 beheld with univerfal applaufe ; but at none more than in England and Spain. At the 
 former, he was highly honoured by Queen Mary I. who prefented him with a chain of 
 gold, and allowed him a penfion of an hundred pounds a year. 
 
 When he retired from London, he went to the Court of Spain, where he was exceed- 
 ingly careffed by the King; and that condefcending Monarch having one day, in a familiar 
 and jocular humour, given Mcfre a tap on the arm, the painter (who it feems was 
 better fkilled in the art of painting than the art of politenefs), with full as much indif- 
 cretion as ill manners, ftruck the King with his maulftick. That folly was likely to be 
 attended with fatal confequences to More ;* mit he withdrew from that country, with all 
 poflible expedition, and with a determined refolution never to return. 
 
 While he was in Spain, he copied fome portraits of illuftrious women, which had been 
 originally painted by Titian ; and they were accounted to approach near to the beauty of 
 the originals. He learned correctnefs of defign in Italy, where he had ftudied in his 
 youth j and his colouring was admirable. The portrait of More, painted by himfelf, is 
 in the celebrated gallery of painters at Florence ; it is charmingly coloured, and full of 
 life and nature; yet it is not without fomewhat of that ftifFnefs, of which he could never 
 diveft himfelf entirely. 
 
 His laft work was the Circumcifion, intended for the cathedral church at Antwerp; 
 but by the death of the artift it was left unfinifhed. 
 
 N. MORELL. 
 
 Painted Fruit and Flowers. 
 
 ' . 
 This painter is fuppofed to have been born at Antwerp, about the year 1664, and to 
 
 have been a difciple of Verendaal, an excellent painter of fruit and flowers ; from whom 
 he learned the art of imitating nature beautifully, and he always painted in the manner of 
 his mafter. When he had fufficiently eftabliflied his reputation at Antwerp, he removed 
 to Bruflels, where the Court at that time refided ; and he foon became known to thofe of 
 the higheft rank, fo as to have employment from every quarter. He lived to a very 
 advanced age ; yet the precife year of his death is not mentioned ; and after he quitted 
 Antwerp, he fpent the remainder of his life at Bruflels, extremely refpected andefteemed. 
 
 This mafter compofed his fubjects well, and in his pictures appeared a great deal of 
 harmony : his manner is broad, and ftiews the freedom of his hand, and facility of execu- 
 tion; his touch is full of fpirit, his colouring true nature, and fuitable to the fubje6l he 
 reprefents. In fome refpe&s he was rather fuperior to his mafter, particularly in the 
 foliage of his plants, and in fome of his flowers ; and his works are of fuch a kind, as to 
 be likely always to give pleafure. 
 
 I i i 2 Two 
 
M O R [ 426 ] MOO 
 
 •# % 
 
 Two very capital flower-pieces of this matter are painted on the folding doors of the 
 
 cabinet, where the ancient and valuable tapeftries,*'belonging to the church of the Abbey 
 jjgjtf St. Peter, at Ghent, are preferved. They are compofed in a great ftyle, and exceed- 
 ingly well executed. 
 
 Paul MOREELZE. 
 Painted Portrait and Hi/lory. 
 
 DIED 1638, AGED 67/^, 
 
 He was born at Utrecht, in 1571, and was a difciple of Michael Mirevelt, under 
 whom he made a very happy progrefs in the art of painting. His genius inclined him 
 to portrait-painting, in the manner of his ^fhlru&or ; but, as he was alfo defirous of 
 being qualified to paint hiftory, he went to Rome, as foon as he left the fchool of 
 Mirevelt, and there improved himfelf confiderably in his ftyle and tafte, by ftudying 
 defign, and lketching the compofitions of eminent artifts. Yet, he afterwards found fo 
 much employment in the portrait ftyle, that very little leifure was allowed him, either to 
 ftudy or to practife hiftory. m& 
 
 However, by obferving the magnificent buildings at Rome, and other cities of Italy, 
 as alfo by applying himfelf to the ftudy of perfpective, he became a good painter of 
 architecture ; and the gate of St. Catherine at Utrecht was ere&ed from one of the 
 defigns of Moreelze. 
 
 Karel de MOOR, Chevalier. 
 Painted Portrait, Hiftory, and Csnverfations* 
 
 DIED I738, AGED 82. 
 
 ( He was born at Leyden, in 1656, and at firft was a difciple of Gerard Douw, with 
 whom he continued for a confiderable time ; but he placed himfelf afterwards with 
 Abraham Vanden Tempel. The death of that mafter difconcerted Moor, and compelled 
 him to return to Leyden from Amfterdam, where he ftudied a while with Francis Mieris, 
 and at laft went to Dort, to pra&ife with Godfrey Schalcken. At the time when he went 
 to the latter mafter, he was fuperior to him as a defigner ; but he coveted to learn 
 Schalcken's manner of handling. As foon as Moor began to follow his profeffion, the 
 public in a fliort time did juftice to his extraordinary merit} and he took the molt 
 effectual method to eftablifh his reputation, by working with a much ftronger defire to 
 acquire fame, than to increafe his fortune. 
 
 He painted portraits in a beautiful ftyle, in fome of them imitating the tafte, the 
 dignity, the force, and the delicacy of Vandyck ; and in others, he mewed the ftriking 
 effect: and fpirit of Rembrandt. In his female figures, the carnations were tender and foft i 
 and in his hiftorical compofitions, the airs of his heads had variety and grace. His 
 
 draperies 
 
if 
 
 MOO C r 427 ] M O R 
 
 draperies -are well chofen, elegantly difpofed in very natural folds, and appear light 
 flowing, and unconftrained. His pictures are always neatly and highly finifhed; he' 
 defigned them excellently, and grouped the figures of his fubjects with great fkill. His 
 works were univerfally* admired, and fome of the moil illuftrious Princes of Europe 
 feemed folicitous to employ his pencil. The Grand Duke of Tufcany defired to have 
 the portrait of De Moor, painted by himfelf, to be placed in the Florentine gallery ; and, on 
 the receipt of it, that Prince fent him£%i return, a chain of gold, and a large medal of 
 the fame metal. 
 
 The Imperial Ambaflador Count Sinzendorf, by order of his mafter, engaged him to 
 paint the portraits of Prince Eugene, and the Duke of Marlborough, on horfeback; and 
 in that performance, the dignity and exprelKon of the figures, and alfo the attitudes of 
 the horfes, appeared fo mafterly, that it Was beheld with admiration, and occafioned 
 many commendatory poems, in elegant Latin verfe, to be publifhed to the honour of the 
 artift ; and the Emperor, on feeing that picture, created De Moor a Knight of the Holy 
 Roman Empire. He'likewifc had the honour to paint the portrait of Peter the Great, 
 Czar of Mufcovy, and an extraordinary number of other portraits, for which he received 
 very large prices. 
 
 The picture of Pyramus and Thifbe, by this mafter, is accounted exceedingly capital j: 
 and alfo, the hiftory of Brutus condemning his fons (which fubject he chofe for the 
 grand hall where the council aflemble at Leyden) is efteemed admirable, as well for 
 the ftrong, natural, and true expreflion in every figure, as for the beauty of the defign, 
 the colouring, and the finifhing. 
 
 Although he moft frequently was employed to paint in a large fize, yet he often, 
 painted fmall eafel pictures, with fubjects of hiftory, or converfations ; and thofe are 
 exceedingly valued, having all the merit of neat penciling, and fweet colouring:, added 
 to an elegant tafte of defign. m*^ 
 
 Jo h n MOORTEL. 
 
 Painted Fruit and Flowers. 
 
 DIED I7I9, AGED 69. 
 
 He was bom at Leyden, in 1650, and painted thofe particular fubjecls in which he 
 delighted, in a very exquifite manner. Every kind of fruit and flower he ftudied care- 
 fully after nature, and they appeared from his pencil fo frefh, fo round, fo blooming, and 
 fo relieved, that every object feemed to be real nature. Yet, notwithstanding his abundant 
 merit, in the delicacy of his touch, and the clearnefs of his colouring, he did not 
 arrive at fuch a degree of excellence, as to equal Mignon in fruit, nor John Van 
 Huyfum in flowers. 
 
 Le MORETTO. Vid. Bonvincino. 
 
 I l M O R O. Vid. Francesco Turbid 0. 
 
 Giovanni. 
 
 l 
 
*> • 3* •* A " fe- 
 
 rn , ^« * ^ 
 
 M OR [ 428 ] M O R 
 
 Giovanni Battista MORONI, called MORONE. 
 
 » ■ 
 
 % Painted Hi/lory and Portrait. 
 
 DIED I578, AGED 50. 
 
 He was born in 1528, and inftrudted by Alefiandro Buonvincino, who took unufual 
 care to form his tafte of defign and colouring, by directing him to copy the works of the 
 moft celebrated painters j in which practice he fpent feveral years, with great induftry. 
 When he had fufficiently eftabliflied himfelf in the knowledge of his art, he compofed 
 hiftorical fubjecls with good fuccefs ; but he afterwards applied himfelf entirely to the 
 painting of portraits, as in that ftyle of painting he had no trouble, but to imitate nature 
 as it offered itfelf to the eye, and in a much lefs degree engaged the imagination and 
 invention, than hiftory. In that branch of painting, however, he arrived at fuch perfection, 
 
 , that even Titian allowed the portraits of Moroni to be the neareft in merit to thofe of 
 
 "his own hand. 
 
 Francesco MORONI. 
 Painted Hijiory* 
 
 DIED I529, AGED 55. 
 
 This painter was born at Verona, in 1474, and was the fon of Bomenico Moroni, 
 a Veronefe painter, very famous in his time for working equally well in frefco and in 
 oil. Francefco inherited the tafte of defign, and the fcience of his father ; but he proved 
 far fuperior to him in the grace of his figures, and in the union and harmony of his 
 colouring. 
 
 He fpent the greateft part of his life at Rome, and died in that city, where many of his 
 beft performances are ftill preferved, in the churches and convents, of which they are 
 accounted a principal ornament. 
 
 *9 :i. ' '"' |P' 
 
 MORTO da Feltro. 
 
 Painted Grotefque, * 
 
 DIED I513, AGED 45. 
 
 He was born at Florence, in 1468, and in that city learned the firft principles of the 
 art of painting; but he went to Rome when he was very young, and applied himfelf with 
 Angular diligence to fearch out every thing that was curious among the antiquities which 
 were (battered through every part of that city, and the adjacent villages. 
 
 His particular genius directed him to paint in the *grotefque ftyle ; and for that 
 purpofe he explored all the antique works of that kind, in the veftiges of baths, monu- 
 ments, 
 
 * The term grotefque, which is now fo familiar among all the lovers of the art of painting, was introduced by the 
 Italians, and by them appropria'ed to that peculiar manner of compofition and invention obferved in the antique 
 ornamental paintings, which were difcovered in th: fubteftaneous chambers at Rome, Puteoli, Cuma, orBajsej which 
 S had 
 
M OS [ 429 ] MO S 
 
 ments, temples, grottoes, {epulchres; and fo effectually ftudied the elegance of tafte in the 
 different ornaments, that he became exceedingly eminent in that manner of defigning, 
 being alfo the firft of the modern artifts who painted in that ftyle. Nor can there be 
 a more fufficient teftimohy of his abilities, than to fay, that he was employed by Giorgione 
 to paint the ornaments of his moft grand compofitions. 
 
 MOSES, called Little Moses. 
 Painted Landfcape and Hijiory. 
 
 DIED I&50. 
 
 This mafter is, by fome authors, fuppofed to have been a difciple of Poelemburg; but 
 he always painted in the ftyle and manner of that famous artift, as well in regard to defign, 
 as in his colouring and pencil. His fubjecrs were landfcapes; in which he introduced 
 hiftorical figures, reprefenting incidents, or memorable ftories, from the Roman, Greek, 
 or fabulous writers. His touch was extremely delicate, his colouring very agreeable, and 
 His pictures are frequently taken for the work of Poelemburg. 
 
 John ,, MOS T A E R TJ& 
 Painted Hijlory and Portrait, 
 
 DIED 1555, AGED 56. 
 
 He was born at Haerlem, in 1499, of an honourable family, and was inftructed in the 
 art of painting by Jacques de Haerlem. His perfonal accomplishments, and the pOlitenefs 
 of his addrefs, added to his diftinguiftied merit in his profeffion, procured the efteem of 
 thole who were in the higheft ftations; and particularly recommended him to the favour 
 of Margaret, fitter to Philip I. King of Spain, in whofe fervice he was retained for 
 eighteen years. He painted many portraits of the Nobility, which were much applauded; 
 and alfo painted landfcapes in a very neat manner, with a number of fmall figures which 
 were well defigned; all his works having a great deal of fpirit and judgment. 
 
 A Nativity, by this mafter, is preferved in the church of the Jacobins at Haerlem, which 
 is highly commended ; and in the fame city is a Banquet of the Gods, in the pofleflion of 
 a perfon of rank, which is defcribed as a grand compofition, full of good expreflion, and, 
 on the whole, extremely beautiful. 
 
 Frederick 
 
 had been decorated in the times of the ancient Romans. And, as the Italians apply the word grotta to exprefs every kind 
 of cavern, cave, or grot, all the more mcdern paintings, which were in imitation of the antique defigns, difcovered in 
 thofe chambers, which for ageshad been concealed under rubbifli and ruins, were called by them grottefcbe, and from thence 
 grottejqus, or grotefque; implying a ftyle of painting ia which the imagination, fancy, and invention, are principally 
 exerted, without any ftrict adherence to nature or truth. 
 
M O U [ 430 3 M O % * 
 
 Frederick MOUC HERON, called the Old. 
 
 Painted Landfcape. 
 
 ft •* ■ sot * ih * 
 
 DIED 1686, AGED 53. 
 
 He was born at Embden, in 1633, and was a difciple of John AfTelyn, called Krabatje; 
 who, obferving the genius of his pupil, took the utmoft care to make him underftand 
 the beft principles of defign and colouring. When he was twenty-two years old, he 
 went to Paris to follow his profeflion; and there he had the good fortune to recommend 
 himfelf to the beft judges of the art, by the beauty of his landfcapes. 
 
 Every fcene, and every objecl, he painted after nature, whenever he obferved what 
 tinted hfs tafte, or pleafed his imagination ; but his choice, in fome of them, was far 
 ^preferable to his choice in others. He was careful to fketch the trees, plants, buildings, 
 and fometimes the entire profpecls of romantic dwellings, almoft buried in groves, or 
 furrounded with piclurefque plantations ; and, by that means, he was enabled to give 
 a great air of truth to his compofltions. 
 
 His fore-grounds are generally clear, and well finiflied; but his diftances frequently 
 have the reprefentation of miftinefs or vapour,. His trees are loofely and tenderly 
 handled i and wherever he introduces water, the reflections of bodies in i|gare tranfparent. 
 His fituations are natural and pleafing, the buildings are ufually well adapted to the fcenes, 
 and his diftances have a good keeping. His touch is free and light, and his colouring is 
 good, except that, in fome of his landfcapes, he is often too yellow, or too green; and 
 cither by time, or ufing fome undurable colours, many of his pictures have acquired too 
 dark a tint, which leiiens their efFe& and their value. But, upon the whole, his com- 
 pofltions are well defigned, agreeably coloured, extremely pleafing, and highly finifhed. 
 
 From Paris he went to fettle at Amfterdam, and, during his continuance in that city, 
 the figures in his landfcapes were painted by Adrian Vander Velde j as, during his refidence 
 in France, they were inferted by Theodore Helmbreker ; and the figures and animals 
 painted by thofe eminent mafters, give the landfcapes of Moucheron an additional value. 
 
 Yet it ought to be obferved, that occafionally he employed other painters befides 
 Vander Velde and Helmbreker, to fupply his landfcapes with figures j but the difference 
 is eafily perceptible, by even the leaft experienced connoifleur. 
 
 Isaac MOUCHERON, called the Young. 
 Painted Landfcape. 
 
 DIED I744, AGED 74. 
 
 He was the fon and difciple of Frederick Moucher^i, born at Amfterdam, in 1670, but 
 he was deprived of his father when he was only fixteen years of agej though, even at that 
 time, he was qualified to enter into the profeflion with credit, as an artift; and he 
 completed himfelf, by accurately ftudying and copying nature in all his fubjedts. 
 
 2 At 
 
i 
 
 M UD [ 431 3 M u R 
 
 At the of twenty-four he travelled to Rome, where he took care not to mis-fpend^ 
 the fmalleft potion of his time ; but made defigns after every beautiful fcene around that 
 city, and particularly f etched every lovely fpot about Tivoli, fo remarkable for the 
 pleafing variety of its views, and the elegant' wildnelfes of nature. By that method of 
 ftudy and pradice, he defigned his fubjedts with extraordinary readinefs, eafc, and 
 expedition j and having nature conftantly as his guide, he was enabled to exhibit truth in 
 all his compofitions. 
 
 Having at laft made a multitude of choice defigns, he returned to Amfterdam, and 
 thofe defigns he executed in grand halls, falons, and the apartments of noble edifices ; 
 always having his landfcapes enriched with figures and animals, though frequently thofe 
 figures were painted by other eminent artifts. In his ftyle, tafte, and execution^ie very 
 far furpafled his father; and befides, he was a perfect mafter of architecture and^ 
 perspective. & IjP ^5^. 
 
 The leaves of his trees are touched with great eafe and fpirit, and their branches are 
 elegantly interwoven. His pictures generally are filled, in an ample manner, with 
 objects of every kind,.and the eye is furniflied with an agreeable variety of buildings, 
 hills, rivers, and plants, all exaftly copied from nature. His colouring appears 
 extremely natural, and, along with its frefhnefs, hath abundance of harmony and union. 
 Verkolie and Difwit molt frequency inferted the figures in his landfcapes j but, for 
 fome of them, he employed other matters. His paintings are exceedingly prized in Holland, 
 and very much efteemed in all parts of Europe. 
 
 Hernandez el MUDO. 
 Painted HiJIory and Portrait. 
 
 This fingular'artift, from his infancy, was deaf and dumb; and having afforded fufficient 
 tokens of an earnefl: defire to learn the art of painting, he was placed as a difciple with 
 Titian, and arrived at a very high degree of perfection in colouring and defign. He 
 fuccefsfully imitated the manner of his mafter, and gained a confiderable reputation ; fo 
 that for feveral years he was employed by Philip II. King of Spain, to work at the 
 Efcurial, and his performances in that palace procured him a noble recompence, and 
 diftinguifhed honour. His principal work is the reprefentation of the four Evangelifts, 
 which he painted in frefco. 
 
 Emanuel MURANT. 
 
 Painted Landfcape. 
 
 * DIED I7OO, AGED 78. 
 
 He was born at Amfterdam, in 1622, and had the happinefs tolje a difciple of Philip 
 Wouwermans, from whom he acquired that warmth and brilliancy of colouring, and 
 
 Kick that 
 
 * In the Chronological Tables it is afferted, that he died in 1670, at the age of only 48, "contrary to the teftimony of 
 other writers, who fay he died in the year 1700, aged 78. 
 
MUR * [ 432 3 MUR # " 
 
 that exquifite pencil, which have rendered him defervedly eminent. His fubjects were 
 views in Holland, villages, towns, cities, ruins of houfes, and decayed caftles j all of 
 them exactly fketched after nature, and fo aftonimingly neat in the finifhing, that every 
 minute part of a building was perfectly difcernible, and even every particular ftone, or 
 brick, might be counted by the afliftance of a convex glafs. 
 
 His patience and application can fcarce be imagined, being in that refpect equal to the 
 celebrated Vander Heyden. But his inexpreffible neatnefs in finifhing every object, 
 demanded fo much time, that it was impbflible for him to paint many pictures ; and on, 
 that account they are exceedingly fcarce, and fold for fuch prices, as muft place them* 
 out of the reach of any purchafers, except thofe who poflefs large fortunes. 
 
 Bartholomew-Stephen MURILLO* 
 Painted Hi/lory, Portrait^ Land/cape, and Beggar-boys* 
 
 DIED 1685, AGED "]2. 
 
 He was born at Pilas, near Seville, in 161 3 ; and as he mewed a very early inclination: 
 to painting, he was inftru&ed by his uncle John del Caftillo, anartift of fome note, whofe 
 fubjects were fairs and markets ; in which ftyle Murillo painted feveral pictures,, while- 
 he continued with that mafter. But his principal knowledge in the art was derived 
 from Velafquez, who directed his ftudies, and frequently retouched his defigns. 
 
 Many writers afTert, that he ftudied at Rome, and improved himfelf exceffi vely in that 
 city j and yet Velafco, a Spanifh author, affirms that he never was in Italy ; but arrived 
 at the excellence he poffeffed, by copying the works of Titian, Rubens, and Vandyck,. 
 which were at Madrid, and the Efcurial ; and alfo by ftudying after the antique ftatues, 
 which are in the Royal collections. However, he became an excellent painter, and was 
 employed by the King of Spain to paint feveral hiftorical pictures, which raifed his 
 reputation through every province of his own country. Thofe paintings being after- 
 wards fent to Rome, as a prefent to the Pope, the Italians were fo much pleafed with 
 his performances, that they called him a fecond Paul Veronefe. In Spain he defigned and 
 finimed feveral grand altar-pieces, for the churches and convents at Madrid, Seville, 
 Cordova, Cadiz, and Granada; and fome of his compofitions are in the churches of 
 Flanders. But notwithftanding his genius, tafte, and abilities, qualified him to execute 
 fubjects of hiftory with general applaufe, yet his favourite fubjects were beggar-boys, as 
 large as life, in different actions and amufements ; which he ufually defigned after 
 nature, and gave them a ftrong and good exprefiion. His original pictures of thofe 
 fubjects have true merit, and are much efteemed, many of them being admitted into the 
 molt capital collections of the Englifh Nobility ; but of thofe there are abundance 
 of copies, which, to the difhonour of the artift, are fold as originals to injudicious 
 purchafers. 
 
 Murillo was alfo excellent for painting portraits and landfcapes ; he had an exquifite 
 pencil; his colouring is mellow, and produces a furprifing effect, by the clearnefs of his 
 
 tints, 
 
M U R 
 
 C 433 3 
 
 MU S 
 
 tints, fkilfully oppofed by proper fhadows ; his carnations are excellent, and there is a 
 linking character of truth and nature in all his paintings. In every part relative to 
 colouring he feems perfect, but not quite correct; and if his choice had been better, 
 and his tafte and knowledge of the antique had been more extenfive, his works might 
 have been ranked with thofe of the moft eminent profeflbrs of the art. Yet his pictures 
 are juftly in great efteem through all Europe, and bring very large prices. 
 
 Some of the fineft paintings of Murillo are in the convent of St. Francis at Seville. 
 The fubject of one of them is, Mofes ftriking the Rock; and another is, Chrift 
 miraculoufly feeding the five thoufand ; in which there a great number of figures, wel 
 difpofed, and beautifully coloured. But the picture which Murillo preferred to all his 
 other works, is that of St. Thomas distributing alms to the poor, the 'aged, and the 
 infirm. 
 
 Thomas MURRAY. 
 Painted Portrait. 
 
 DIED I724, AGED 58. 
 
 He was born in Scotland, about the year 1666; but went to London, to place himfelf 
 as a difciple with Riley, ftate painter to King Charles II. and fucceflbr to Sir Peter Lely, 
 He ftudied nature carefully, and in his colouring and ftyle imitated his mafter. 
 
 He painted portraits with great fuccefs and credit; and had the honour of being 
 employed by the Royal Family, as alfo by many of the Nobility who attended the Court 
 at London. From thofe he received particular marks of refpect and efteem, and by their 
 protection and favour was enabled to acquire a confiderable fortune. 
 
 The portrait of Murray, painted by himfelf, is honoured with a place in the gallery of 
 painters at Florence. 
 
 Michael Van MUSSCHER. 
 Painted Portraits and Conventions. 
 
 DI£D 1705, AGED 60. 
 
 He was born at Rotterdam, in 1645; and having fliewn early tokens of a flrong 
 genius to the art of painting, he was inftructed by Martin Zaagmoolen, an indifferent 
 painter ; but in a fliort time he quitted that fchool, and became a difciple of. Abraham 
 Vanden Tempel, an artift of much fuperior abilities and merit, where he ftudied with 
 remarkable application, and afterwards fucceflively reforted to the fchools of Oftade and 
 Metzu. Yet he derived more real advantage from the force of his own genius and. 
 afliduity, than from all the inftructions he received from different mafters. 
 
 For he went through the various fchools of Holland with too much rapidity, and too 
 uhfettled a turn of mind, which perhaps hindered him from profiting as much as he 
 
 K k k 2 ought 
 
u u r 
 
 t 434 3 
 
 MUX 
 
 ought to have done,, had he deliberately attended to the inftructions he might hava 
 received from any fingle artift. However, from every mafter he acquired fomething ; 
 from one, an exceeding good manner of colouring; from another, neatnefs of pencil; 
 and from others, the beauty of high finifhing ; fo that fome of his pictures are worthy of 
 being placed in competition with Metzu, or Jan Steen. In Amfterdam, where he fpent 
 the greateft part of his life, there are a great number of excellent portraits of his hand; 
 but the moft capital of all his performances in that ftyle, is his own famiiy-piece, repre- 
 fenting himfelf, his wife, and his children, which was fold for above a thoufand florins. 
 
 As every mafter under whom he ftudied, painted fubjects of converfations in the 
 manner of Bamboccio, taken from characters in low life, Muffcher alfo painted feveral 
 compofitions of that kind, which fufrjciently evidenced the greatneis. of his abilities; and 
 his work was fo eagerl-y coveted, that he found it impoflible to finifh the pictures, which., 
 were befpoke. In general, he was not very correct, nor was the difpofition of his 
 figures extraordinary; yet in fome degree he compensated for thofe defects, by the bright- 
 nefs and beauty of his colouring, by the truth in his imitations of nature, and by the 
 furpriling refemblance in his portraits ; but he was accounted to have the art of flattering 
 his models, which perhaps might have been one great caufe of his conftant employment 
 in painting portraits. 
 
 Girolamo M U T I A.N O. 
 Painted Hi/lory y Portrait, and Landscape, 
 
 DIED I59A AGED 62. 
 
 He was born at Aquafredda, in the territory of Brefcia, in 1528, where he was taught 
 the principles of defign and. colouring by Girolamo Romanino; but having afterwards 
 travelled to Rome, to improve himfelf in the knowledge and tafte of defign, he ftudied 
 the works of Michael Angelo Buonaroti" and Titian, he worked for fome time with 
 Taddeo Zucchero, and became a very diftinguiihed mafter.. 
 
 His manner of defign is great ; his colouring extremely good, in frefco as well as in 
 oil ; and the heads of his figures have an elegant and fine expreflion. He ftudied nature 
 with care and judgment; he frequently painted hmdfcapcs and portraits in a noble ftyle; 
 and very often adorned his hiftorical fubjects with landfcapes, which. are always excellently 
 underftood, and as happily introduced. It was obferved, as a remarkable fingularity in 
 Mutiano, that the.touchings of his trees were fome.what in the Flemifh. manner, a circum- 
 ftauce rarely known or practifed, in the. Roman fchool. 
 
 At Rheims thejre is, a celebrated picture of Mutiano's eompofition, in a grand ftyle, 
 arid the figures are as large as life.. It is painted in diftemper, on canvafs ; the fubject is, 
 Chrift wafhing the feet of his. difciples ; it is worthy of any mafter, and is univerfally 
 admired, as well for the defign, as for the correctnefs and handling. In the church of 
 St. Peter, at Rome, are four pictures, repcefentin^ .St. Ajithony, St. Paul^ the Hermit, 
 
MYN: £ 435 J MYN*. 
 
 3t. Bafil, and St. Jerom ; and in the church of San Martino dei Monti, is a picture of 
 St. Albert, in which Mutiano introduced a charming landfcape. 
 
 This matter is likewife memorable tor being the firft projector of the academy of 
 painting at Rome, which was founded by the Pope, Gregory XIII. through the folici- 
 tation of Mutiano. 
 
 Herman Va n d e r MYN.. 
 Painted Hi/lory, Portrait, Fruit, and Flowers*. 
 
 DIED 1 74I, AGED 57. 
 
 This painter was born at Amfterdam, in 1684, and was a difcipleof Ernefl Stuven, a 
 good painter of fruit and flowers ; but when he had for fome time ftudied under that 
 mafter, and at laft furpalTed him, he would not confine his talents to thofe low fubjecls,, 
 but grew ambitious of appearing in a much higher character, as a painter of hiftory and 
 portrait. In each of thofe branches he practifed for fome years, with great application ; 
 and then he aftonifhed all the artifts and connoifteurs at the Hague, with a picture of 
 Danae, of his own painting, which was defigned in a fine tafte, was extremely well 
 coloured, and had great elegance of expreffion. But, as he fixed a moft immoderate 
 price on that performance, it remained unfold for two or three years, although it had 
 been exceedingly admired. 
 
 He alfo painted the hiftory of Amnon and Tamar in a very noble ftyle, as well for 
 composition as expreflion; and other fubjects, of facred and profane hiftory, with equal 
 beauty and delicacy. Yet, his vanity and avarice concurred to make him expect fuch 
 exorbitant fums for each picture, that few, among even perfons of fortune, could think 
 of becoming purchafers ; and by that ill-judged conduct, of over-rating .his works, 
 even the Duke of Orleans was difcouraged from buying, although he fliewed himfelf a 
 real, admirer. The moft capital performance of Vander Myn, is the Denial of St. Peter, 
 but unluckily it was much injured by an accident. 
 
 In purfuit of encouragement, he went to London, to which city all foreigners who- 
 have any merit are induced to refort, fuch. numbers of them having amply experienced 
 the national liberality; and he there painted the portraits of feveral Englim Noblemen.. 
 Particularly he painted a picture at whole length of the Duke and Duchefs of. Chandos, 
 for which he demanded, and was paid, five hundred guineas. It was accounted a 
 truly fine composition ; and the defign reprefented a painter's chamber, in which 
 the Duchefs appeared as fitting before an eafel, employed in painting the portrait of 
 the Duke ; the whole being; intended as a compliment to her known tafte in drawing 
 and painting. 
 
 His vanity was excefllve; he was extremely covetous; and yet, when he found himfelf 
 in affiuence, he was profufe and prodigal; and although he got more money than any 
 artift or his time, he died, poor and wretched. He proved a good painter of hiftory, and 
 his fruits and flowers were in much efteem ; but his greateft excellence confifted in 
 
 Pitintihg, 
 
M Y T 
 
 f 436 ] 
 
 M Y T 
 
 painting portraits, which were agreeably coloured, and had great force, without his appear- 
 ing a mannerift, as he always adapted his tints exactly to the different complexions of his 
 models. His draperies are natural, and well difpofed in the folds j in thofe he was 
 frequently aflifted by other artifis, but he always retouched them with great care. As to 
 the hiftorical pictures of this mafter, they have abundance of merit ; but, in refpect of 
 colouring, they are inferior to his portraits, the carnations being rather too red, and 
 fometimes too grey. His defign is not very correct, but yet it fumciently mews that he 
 had ftudied and copied nature, though he did not ftudy it effectually. 
 
 He lived in London very fplendidly, fupported by his vaft bufinefs and acquifitions; 
 but by an indifcreet conduct, and a very imprudent marriage, he facrificed his fortune 
 and reputation, and died in that city, reduced to contempt, and to the utmoft neceffity. 
 
 Arnold MYTENS. 
 Painted Portrait. 
 
 DIED l602, AGED 6l. 
 
 He was born at BrufTels, in 1541, where he learned the rudiments of his artj but he 
 travelled to Italy for improvement, and vifited Rome, Venice, and Naples, applying himfelf 
 with fo much diligence, that he was engaged for feveral grand works in each of thofe 
 cities, and lived in high efteem. 
 
 His ftyle was entirely in the tafte of the Roman fchool, with figures ufually as 
 large as life, and fometimes of a larger proportion. At Naples he painted an altar- 
 piece, reprefenting the four Evangelifts ; and another, of the Virgin crufhing the head of 
 the Serpent; which were of wonderful beauty, and exceedingly admired (even by the 
 Italians), for the defign as well as the colouring. And at Abruzzo he finiftied a grand 
 compofition, reprefenting the Crowning of Chrift with Thorns, by the light of flam- 
 beaux, the lights being judicioufly and very happily diftributed, the tone alfo of his 
 colouring being warm and full of force. 
 
 Daniel MYTENS. 
 
 Painted Portrait and Hijiory. 
 
 DIED l688, AGED 52. 
 
 He was born at the Hague, in 1636, and went to Rome when he was very young, 
 where he ftudied under William Dodoens or Doudyns, and likewife under Vander Schuur. 
 As foon as he quitted thofe mafters, he employed himfelf in defigning after the antiques, 
 in copying the moft celebrated paintings of the beft artifts, and adding confiderably to his 
 improvement by the inftructions of Carlo Maratti and Carlo Loti, with whom he 
 fortunately eftablifhed an intimacy. 
 
 Had the morals of this painter been as good as his genius, he certainly would have 
 made a great figure in his profeflion; but his attention was too much engrolTed by the 
 
 2 love 
 
MYT 
 
 [ 437 1 
 
 MYT 
 
 love of pleafure, luxury, excefs, and extravagance. He had a lively imagination, his 
 compofition was good, his colouring very agreeable, and he deiigned with great eafe and 
 readinefs. But it ought to be obferved, that all thofe eminent qualities appeared only in 
 fuch of his works as were painted while he refided in Rome, and within the compafs of 
 fonie few years after his return to the Hague; for afterwards, by negligence, diflipation, 
 and intemperance, his works became much lefs eftimable in his latter time. 
 
 He fketched a very noble defign for a ceiling of the Painters Hall at the Hague, which 
 gained him extraordinary credit. The work was begun, but unfortunately he left it for 
 fome years unfinimed; and it would have contributed much more to his reputation if he 
 had never attempted to finifli it, as he rather injured than improved it, 
 
 ..... M Y T E N S. 
 
 Painted Portrait* 
 
 This artift was principal painter to King Charles L before the arrival of Vandyck irt 
 England; but afterwards he exerted himfelf to imitate Vandyck, and proved fo fuccefsful 
 that feveral of the pictures of Mytens have been taken for the work of that more famous 
 mafter. Some portraits of the Princes of Brunfwick, at full length, by this artift, are 
 at Hampton Court; and a portrait of Hudfon the dwarf, holding a dog in a ftring, is at 
 St. James's; the landfcape part being freely touched, and warmly coloured. 
 
 When Vandyck came to the Court of London, Mytens modeftly wiflied to retire ; but 
 the King obligingly continued him in his fervice for fome few years, and he then returned 
 to his native country. 
 
 John MYTENS- 
 Painted Portrait. 
 BORN IN l6l2. 
 
 The native city of this painter was Bruflels, where at firft he learned the art of painting 
 from Anthony Van Opftal, and afterwards from Nicholas Vander Horft. He had an apt 
 genius, and pradtifed with Angular affiduity, fo that he gradually became a very eminent 
 painter of portraits* The Prince of Orange, and many of the Nobility of the firft rank,, 
 fat to him; and he had the good fortune to acquit himfelf, in all his performances, to the 
 entire Satisfaction of his employers, and as much to the approbation of the public. 
 
 Martin MYTENS. 
 Painted Portrait and Hi/lory. 
 
 DIED 1755, AGED 60. 
 
 This artift was born at Stockholm, in 1695, and at eleven years of age ftiewed fuch an 
 extraordinary genius to painting, that feveral of his defigns, even at that early period, 
 were beheld with furprife by many of the beft judges and the prime Nobility of that 
 Court. But when he had pradtifed for fome years, and obferved that he could not 
 
 receive 
 
M Y T 
 
 C 438 ] 
 
 MYT 
 
 receive a competent knowledge of the art by flaying in his own country, he determined 
 to feek for improvement at Rome, and, in his progrefs, to examine every thing curious in 
 other cities of Europe. His firft excurfion was to Holland, and from thence he proceeded 
 to London, where he pracfifed miniature and enamel painting, to which he had always a 
 ftrong tendency ; and, by his performances in that way, gained a fufficiency to maintain 
 himfelf, without being any incumbrance to his parents. 
 
 He was naturally ftudious and fober, devoting all his hours of leifure to defign after 
 the works of Vandyck, and other eminent matters, and avoiding every kind of intercourfe 
 with the gay or the difiblute; till, by that method of purfuing his ftudies, while he 
 preferved his virtue, he acquired great expertnefs in his profeflion. In 17 17 he vifited 
 Paris, and proved fo fortunate as to obtain the favour of the Duke of Orleans, and to 
 have the honour to paint the portrait of that Prince, and alfo the portraits of Lewis XV. 
 and the Czar Peter. The latter Monarch made him large otters, to induce him to fettle 
 at Peterfburgh, which he politely declined, being determined to fee Italy. 
 
 In 1721 he arrived at Vienna, where he was gracioufly received; and having, with 
 great applaufe, painted the portraits of the Emperor, the Emprefs, and the moft illuftrious 
 perfons at that Court, during a refidence of above two years, he proceeded on his 
 intended journey to Italy* The firft city to which his curiofity directed him was Venice, 
 where his merit very foon diftinguiflied him, and he might have had abundance of 
 employment} but, as he only went thither to learn the true beauty and harmony of 
 colouring, he fpent his whole time in that ftudy; and then vifited Rome, to acquire the 
 grand ttyle of compofition, and correctnefs of defign. There he exerted all his induftry* 
 and lkill, to defign after the beft antiques, and to copy the moft excellent of the modern 
 productions; and formed his hand to paint in large, full as readily as he had formerly done 
 in fmall, and in oil as well as in miniature. 
 
 When he had accompliflied his ftudies at Rome, having continued there for two years, 
 he went to Florence, where the Grand Duke Grafton I. fhewed him all pottible marks of 
 efteem; and having engaged him for fome time in his fervice, he made him confiderable 
 prefents, and placed the portrait of Mytens among the heads of the illuftrious artifts in 
 his gallery. He alfo received public teftimonies of favour from the King and Queen of 
 Sweden, each of them having prefented him with a chain of gold and a medal, when he 
 he vifited that Court, after his return from Italy. At 1 aft he fettled at Vienna, where every 
 judicious eye was agreeably furprifed to obfer„ve the wonderful improvement in his tafte and 
 his pencil. They were delighted to perceive fuch corre&nefs of defign, fuch an elegant 
 difpofition of the figures, fuch noble and becoming attitudes, fuch relief, and fuch force, 
 as he gave to every figure, by the beauty and harmony of his colouring. 
 
 The Emperor Charles VI. and his Emprefs retained Mytens in the fame honourable 
 employment, and with the fame appointments, which the preceding Emperor had gene- 
 roufly granted him ; and he lived in that Court, univerfally efteemed for his uncommon 
 merit, end equally valued for his perfonal accGmpliftiments. 
 
 A moft capital picture of this -mailer's hand, is the hiftory of Efther and Ahafuerus. 
 
 N.' 
 
N A D 
 
 [ 449 J 
 
 N A S 
 
 N. 
 
 NADALINO del MURANO. 
 
 Painted Hijlory and Portrait. 
 
 He was the difciple of Titian, and obtained a great reputation by the beauty of his 
 colouring, and a ftyle which ftrongly refembled that of his mafter. He was for fome 
 years in England, according to the teftimony of the writers on this fubjecSt, where, it is 
 faid, he met with encouragement, and was much employed ; but he quitted that kingdom, 
 and afterwards fpent feveral years in the Low Countries. 
 
 Battista NALDINI. 
 Painted Hijlory and Portrait. 
 
 He was born at Florence, in 1537, and was a difciple* of Giacomo Puntormoj but, 
 after the death of that mafter, he ftudied defign at Rome with extraordinary application, 
 and continued to practife with fo much fervour, that his reputation was thoroughly 
 eftablifhed before he left Rome. 
 
 He finifhed feveral very noble works at Florence, in concurrence with other eminent 
 painters; and in the chapel of the Black Monks, in that city, there is a fine compofition 
 by Naldini, reprefenting Chrift bearing the Crofs, in which there are a number of 
 excellent figures; and in many other performances of this mafter, the genius, the invention, 
 and the execution of an able artift, are fufficiently manifeft. 
 
 His manner of defign was agreeable and eafy, and his colouring good; he difpofed the 
 figures in his compofitions with tafte, propriety, and judgment, and he was often 
 peculiarly happy in his expreflion. 
 
 Giovanni NANNI. Vid. Giovanni da UDINO. 
 
 NAPOLETANO. Vid. ANGELI. 
 
 Giuseppe Niccola NASINI. 
 Painted Hijlory. 
 
 DIED I736, AGED 76. 
 
 This artift was born about thirty miles from Siena, in 1660, and learned defign from 
 his father Francefco Nafini, a painter in good efteem, under whofe direction he pra&ifed 
 
 L 1 1 till 
 
NEC 
 
 [ 450 ] 
 
 NEC 
 
 till he was eighteen years old, when he was fent to Rome, to be placed as a difciple with 
 Ciro Ferri. Under the care of that mafter he continued for two years; and acquired 
 fuch knowledge, fuch a command of pencil, and fo good a tafte of defign, as enabled him 
 to appear in the world with moft promifing talents; for his proficiency in fo fhort a 
 time prepofleffeji all the judicious in his favour. 
 
 Ciro Ferri commended him exceedingly, and laid hold of the firft opportunity that 
 offered for his advancement; and being requefted by the Grand Duke Cofmo III. to fend 
 him a young artift fufEciently qualified to copy the defigns of Pietro da Cortona, in the 
 Palazzo Pitti, Ciro recommended Nafini, as the beft among his numerous difciples, and 
 the moft likely to anfwer the expectation of that Prince. Nafini executed the commiflion to 
 his own honour, as well as to the honour of his mafter, and the entire fatisfaclion of the Duke; 
 and was not only munificently rewarded, but, by order of the Duke, he was admitted into 
 the Florentine academy at Rome, of which Ciro Ferri was at that time principal director. 
 
 During his continuance at Rome, he gained three prizes at the academy of St. Luke 
 for his paintings, and one for his fculpture; and having at laft perfected his ftudies in the 
 academy, he vifited Venice, where he fpent fome time with Carlo Loti; and then 
 returning to Tufcany, was appointed to an employment of confiderable profit and honour 
 at that Court. PVom that time he was conftantly engaged in the fervice of his patron, 
 but permitted to work for moft of the Princes of Europe; his pictures being universally 
 admired for the elegance of their defign, for the correctness of his outline, for the beauty 
 of his colouring, and an exprefiion that was truly excellent. 
 
 Among many fine performances of Nafini, two are particularly mentioned, as being 
 admirable: one of them is the Death of Cato; the other, a Lucretia; both of them full 
 of nature, truth, and elegance, and with a wonderful exprefiion. 
 
 John Van NECK. 
 
 Painted Hiftory. 
 
 DIED 1 7 14, AGED 79. 
 
 He was born at Naarden, in 1635, and was a difciple of Jacob Bakker, whofe freedom 
 of penciling and ftrong manner of colouring he ftudied induftrioufly ; till, by copying his 
 works with care and obfervation, he fucceeded as happily as he could wiih, and was 
 accounted to have a degree of merit equal to his mafter. 
 
 He excelled in defigning naked figures, and therefore often chofe fuch kind of fubjects 
 as admitted them to be introduced with propriety in his compofitions, fuch as nymphs 
 bathing or hunting; and in the hiftorical pictures of Van Neck, the figures are defigned 
 with elegance, and the draperies diftributed in eafy and natural folds. There is a picture 
 painted by this mafter, in the French Romifh church at Amfterdam, reprefenting Simeon 
 with Chrift in his arrns, which is defcribed as an exceeding capital performance. 
 
 Peter 
 
N E E 
 
 C 451 ] 
 
 NEE 
 
 Peter NEEFS, called the Old. 
 Painted Churches^ Perfpeffive, and ArchiteRure. 
 
 DIED 1651, AGED 8l. 
 
 This painter was born at Antwerp (as it is fuppofed), in the year 1570, and was a 
 difciple of Henry Stenwyck. He imitated exactly the manner of his mafter, painting 
 the views of churches and convents, and particularly the views of the infides of them, 
 efpecially thofe of Gothic architecture. He ftudied afcer nature with fo nice an obfer- 
 vation, that every fcene he reprefented, and every building, might be known at firft fight, 
 even with the moft curfory view. He was thoroughly fkilled in perfpective, and defenbed 
 his fubjects with all their rich decorations, and every member of the architecture, with 
 fuch neatnefs of penciling, fuch truth and patience, as may fooner become an object of 
 wonder than of imitation. 
 
 The fubjedte he painted had neceflarily a great deal of regularity in the pillars, pave- 
 ments, and arches, and might, by the uniformity of lines, tire and difguft the eye; but 
 he contrived, with fingular judgment, to interupt that regularity, by introducing fome 
 chapel, oratory, monument, organ, or other incident, that diverfified the fcene, and 
 afforded pleafure to the obferver, by the judicious oppofition of his lights and fhadows; 
 and thofe he managed with fo much (kill, that every object receded from the eye with a 
 truth of tint, and a perfpe&ive proportion, equal to nature, producing a moft agreeable, 
 and often a furprifing effect. The columns, capitals, or the ornamental paintings of the 
 churches he reprefents, are all marked with the utmoft precifion, are finifhed with an 
 exquifite touch, and a light clean pencil. 
 
 Thofe pictures of Neefs which are moft bright and clear, are accounted moft eftimable; 
 for in his beft time he ftudied to avoid the darkifh brown colouring, which is often 
 obfervable in the works of his mafter Stenwyck. As he deflgned figures but indifferently, 
 thofe which are inferted in his pictures were painted by Francifcus Francks, Van Tulden, 
 the Velvet Brueghel, or Teniers; but the figures of the two latter artifts gave a great 
 additional value to the pictures of Neefs. 
 
 Peter NEEFS, called the Young. 
 
 Painted Architeclure and Perfpeflive. 
 
 He was the fon of Peter Neefs, and learned the art of painting from his father. He 
 painted in the fame ftyle and manner, and chofe the fame fubjects which had rendered his 
 father very famous i but he was in no degree comparable with him, and rather injured 
 his reputation, by affording the dealers in pictures an opportunity of imputing many of 
 his performances to the Old Neefs, although jthey are far inferior to the work of that 
 mafter, and by that means impofing on the injudicious. 
 
 LI I 2 
 
 Arnold 
 
NEE 
 
 [ 452 ] 
 
 NEE 
 
 Arnold Vander NEER. 
 
 Painted Landfcapes and MoonAights* 
 
 DIED 1683, AGED 64. 
 
 He was born at Amfterdam, in 1619, and is well known to the connoifTeurs in painting, 
 by a peculiarity of ftyle, and alfo by the handling and tranfparence of his landfcapes. His 
 fubjects are views of villages, or the huts of fifhermen, on the banks of rivers and canals, 
 by moon-light ; and they generally are finifhed with a remarkable neatnefs of penciling. 
 His touch is extremely light, free, and clean, and his imitation of nature exceedingly true; 
 particularly in the luftre of his Ikies about the moon, and the reflection of the beams of 
 that luminary on the furface of the water. His figures are ufually well defigned; but as 
 .they were taken from low nature, they cannot boaft of much elegance in their forms ; 
 yet their actions and attitudes are well adapted to their employments and occupations. In 
 all parts of Europe his pictures are ftill in good efteem; and they are in every refpect 
 commendable) except that in fome of them there is rather too predominant a blacknefs. 
 
 Eglon Hendrick. Vander NEER. 
 Painted Hijlory, Portrait, Landscape , Converfations, Plants., and Animals,. 
 
 *DIED I703, AGED 6(D. 
 
 This artift was born at Amfterdam, in 1643, the fon, and likewife the difciple of Arnold 
 Vander Neer, who having accurately ftudied after nature, and alfo having a confummatc 
 knowledge in his profeffion, carefully communicated thofe principles to his fon Eglon, which 
 laid the foundation of that excellence at which he afterwards arrived in feveral branches of 
 his art; for he proved an admirable painter of hiftory, and of landfcape, equally diftinguifhed 
 for the delicacy of his pencil, and for thofe beautiful fcenes of nature which he defigned. 
 
 As his genius inclined him to ftudy portrait-painting and hiftorical compofition, he was 
 placed under the direction of Jacob Vanloo, who particularly excelled in naked figures} 
 and there he applied himfelf with fuch ardour, to obtain a competent knowledge of defign 
 and colouring, that he needed no other inftructor, except the ftudy of nature. 
 
 At his firft fetting out in his profeflion, he was employed by Count D'Hona, and 
 continued in his fervice for four years ; in which time his reputation was firmly eftablifhed, 
 more efpecially as a painter of portraits, which he finifhed in miniature, as well as in 
 a fize as large as life. One of his performances in that ftyle, was the portrait of the 
 Princefs of Newburgh, which he painted by order of the King of Spain ; and that Monarch 
 expreffed fo high a degree of fatisfaction, when it was exhibited at his Court, that he 
 rewarded the artift in a princely manner, and fent him a patent appointing him ftate 
 
 painter j 
 
 * The author of the Mufeum Florentinum, contrary to moft other writers, fuppofes Eglon Hendrick Vander Neer to 
 have died in 1697, and at the age of only 54. 
 
NEE 
 
 [ 453 3 
 
 NEE 
 
 painter ; though Eglon declined accepting that mark of the royal favour, and continued 
 at the Court of the Elector Palatine, for whom he finifhed feveral cabinet pictures,, which 
 were extremely admired. 
 
 But, befides portraits, Vander Neer painted a great number of hiftorical defigns, taking 
 his fubjects fometimes from the facred writings, but more frequently from fabulous hiftory ; 
 and in thofe he reprefented nymphs, or different deities of the mountains, or rivers, always 
 enriching his fcenes with groves, rocks, or beautiful diftant hills. The figures which he 
 introduced in any of his fubjects, were correctly drawn, and difpofed with remarkable fkill ; 
 and it was obferved of him, that in the laft year of his life he painted full as well as he 
 had at any time done in the prime and vigour of his years. 
 
 He likewife painted converlations, in the manner of Terburg, fometimes in modern 
 dreffes, and at other times in the more ancient mode ; and alfo landfcapes, which were 
 defigned in a good tafte, and had an agreeable variety. He was fond of diverfifying the 
 fore-grounds with different plants, which he copied after nature ; and for that fole purpofe, 
 he preferved a collection of thofe plants in his garden. But, as he obferved that the plants, 
 when taken from, their beds, and brought into his painting chamber, loft a confiderable 
 portion of their beauty and luftre, while he endeavoured to imitate them, he contrived 
 a portable houfe, in which he could fit, and paint every object as it grew, in tfie utmoft 
 perfection. 
 
 This mafter poffeffed very extraordinary talents, and painted, all his fubjects with art 
 equal degree of merit. His portraits, in large and fmall, are well coloured, and touched 
 with, a great deal of fpirit and delicacy. In the hiftorical pictures he jfhewed correct 
 drawing, and a compofition that was ingenious ; and his landfcapes have an agreeable 
 choice, with great variety; though, by too much pains and labour beftowed on the plants^ 
 in the fore-grounds, there is often the appearance of lomewhat too hard and ftiff. 
 
 In the celebrated collection of the Elector Palatine, there are feveral paintings of this 
 mafter; and one in particular, reprefenting Hagar in the Wildernefs. Houbraken alfo 
 mentions one of his compofitions, of which the fubject was, Ceres in fearch of Proferpine ; 
 which that writer fays he had feen and attentively examined, and defcribes it as being 
 admirably defigned, and highly finifhed ; particularly the herbs, plants, thiftles, and trunks 
 of trees, covered with ivy, and other creeping plants ; yet he obferves, that in fome parts 
 it feemed rather too hard. 
 
 He had the honour of being the mafter of Vander Werf, who derived a great mare of 
 his merit from the precepts and obfervations of this artift, as well as from his excellent 
 example. Eglon was particularly attentive to his colours, not only endeavouring to 
 procure fuch as were raoft beautiful, but alfo moft durable ; and he gave it as his advice 
 to Vander Werf, not to be folicitous to find out new colours, but to ftudy how to ufe and 
 unite thofe that were already known, as he had experienced them to be fully fufficient ; 
 which advice his difciple had the discretion to follow, and in his works moft fuccefsfully 
 obferved it. 
 
 1 The 
 
NEE 
 
 [ 454 3 
 
 'NET 
 
 The portrait of Vander Neer, painted by himfelf, is preferved in the gallery of eminent 
 painters at Florence, and it has the following infcription, Eglony Hendric Vander Neer, 
 f. 1696. 
 
 John Van NES, or NEES. 
 Painted Portrait. 
 died 1650. 
 
 He was born at Delft; and, as he fhewed a very early genius to painting, he was placed 
 as a difciple with Michael Mirevelt j in whofe fchool the proficiency of Van Nes was fo 
 extraordinary, that he proved one of the beft difciples of that famous matter, and found 
 himfelf, in a few years, well qualified to fet up in his profeflion. 
 
 However Mirevelt, who difcerned the promifing talents of his pupil, advifed him to 
 add to the knowledge he had already acquired, by ftudying nature, and by travelling to 
 Rome and Venice, where he might perfect himfelf in defign as well as in colouring. 
 He followed the advice of his director, and in thofe cities ftudied induftrioufly after the 
 beft models, as he alfo did in feveral other places through which he journeyed; and i« 
 every place procured refpect and efteem, not only on account of his great abilities, but 
 alfo by his amiable qualities and conduct. 
 
 It was much to be regretted, that with a genius and talents fo fitted for eminence in 
 hiftorical compofitions, he mould apply himfelf folely to portrait; though, in that ftyle, 
 he painted feveral incomparable pictures. He defigned with great correctnefs, he gave an 
 exprcflive refemblance to his portraits, and his colouring was very natural, and very lively. 
 
 Gaspard NETSCHER. 
 Painted Hijloryy Portrait, and Still Life. 
 
 DIED 1684, AGED 45*. 
 
 All authors, except De Piles, atteft that he was born at Heidelberg, in 1639; and his 
 father dying during the war, his mother was left in moft deplorable circumftances, with 
 three children, and obliged to quit Heidelberg. She retired into a fortified town, 
 to avoid, if pofiible, the calamities of war ; but feeing two of her children perifh in her 
 arms by famine, fhe determined to exert all her ftrength to efcape with her only child ; 
 and through a feries of dangers and fatigues, (with her fon Gafpard, at that time not much 
 above two years of age) arrived fafe at Arnheim, where flie was fupported by the 
 contributions of thofe who were charitably difpofed in that city. 
 
 Fortunately a very wealthy phyfician, whofe name was Tullekens, conceived a 
 fondnefs for Gafpard ; he adopted him, he confidered him as his own fon, and had him 
 
 educated 
 
 * De Piles, contrary to the teftlmony of other writers, fays he was 48 years old when he died ; and the author of the 
 Abrege de la Vie des Peintres has followed the affertion of De Piles, though it is allowed by moft, that he was born in 
 j 639, and died in 1684, which makes him but 45. 
 
NET 
 
 f 455 ] 
 
 N E T 
 
 ■educated with a view to breed him up to his own profeffion: but being at 1 aft convinced 
 that the genius of the lad was more ftrongly inclined to the art of painting, he indulged 
 him fo far as to place him with one Kofter, a painter of fowls and dead game; and 
 afterwards had him inftructed by Gerard Terburgh of Daventer. 
 
 When Gafpard found himfelf capable of following his profeffion, he went to Holland, 
 and worked for fome time very induftrioufly for thofe who traded in pictures ; but they 
 impofed on him leverely, paying a very inconfiderable fum for thofe pictures which were 
 by them fold for very large prices ; fo that Netfcher, totally difcouraged by the fmallnefs 
 of his acquifitions, refolved to quit Holland immediately, and to travel to Italy. He 
 embarked with that intention ; but the {hip having put into Bourdeaux, he married, and 
 laid afide all thoughts of proceeding any farther,* and went with his family to fettle at 
 the Hague. 
 
 On his arrival in that city, he painted hiftorical fubjects in a fmall fize; and yet, 
 although they were excellently finifhed, and eagerly bought up, the prices he received for 
 them were in no degree proportionable to the time expended upon them. Therefore, 
 notwithstanding his prevalent inclination to paint hiftory, he refolved to apply himfelf to 
 portrait-painting, which required lefs labour, and was abundantly more lucrative. In that 
 ftyle he proved a molt admirable artift; and his reputation was fo highly raifed, that very 
 few of the foreign Ambafladors and Minifters who vifited the Hague, or of the con- 
 siderable families who refided there, were without fome of the works of Netfcher. 
 
 He was one of the beft painters of the Flemifh fchool, in a fmall fize ; his manner of 
 defigning was correct, but he always retained his national tafte ; though frequently the 
 heads of his portraits have fome what that is graceful, with an air and expreffion that is 
 natural and becoming, more efpecially in the heads of his female figures. His colouring 
 is the genuine tint of nature; his local colours are true; and he had a peculiar power in 
 reprefenting white fatin, filks, linen, and Turkey carpets, fo as to give them an uncommon 
 beauty and luftre. He underftood the principles of the chLro-fcuro perfectly well, and 
 ufed it judicioufly; his outline is generally correct, his draperies are thrown into large 
 and elegant folds ; and his touch is fo inexpreffibly delicate as to be fcarce perceptible. 
 
 King Charles II. invited him to London, with an intention to advance the fortune of fo 
 eminent an artift; but his love of liberty proved far fuperior to his ambition, and he 
 declined that honour, to enjoy the happinefs of an eftablifhed reputation in his own country. 
 
 In the Royal collection at Paris, there are two pictures of Netfcher, charmingly painted; 
 one is a Mufician instructing a lady to play on the bafs-viol ; the other is a Lutenift 
 performing on his instrument : and in the pofleffion of a French nobleman, is a Cleopatra 
 dying by the bite of an afpick, which is a lovely and rich compofition ; the head, hands, 
 drapery, fruit, and every part of the furniture of the apartment, being finifhed in a moft 
 exquifite manner, and the whole appearing full of harmony. 
 
 Theodore 
 
NET 
 
 C 45* J 
 
 N E T 
 
 Theodore NETSCHER. 
 Painted Portrait. 
 
 DIED I732, AGED JI. 
 
 This painter is claimed by the Dutch as one of their artifts, though he was born at 
 Bourdeaux, in 1661. He was the fon and difciple of Gafpard Netfcher, and, even at the 
 age of nine years, was the beft performer in the fchool of that mafter. At eighteen he 
 commenced painter ; and being folicited by Count D'Avaux to accompany him to Paris, 
 his merit procured him many friends in that city, and a great deal of encouragement. 
 
 He poflefled the fkill of taking an agreeable likenefs, and on that account was 
 appointed to paint the portraits of the principal perfons about the Court, particularly the 
 ladies ; and he continued in that city for twenty years, enriched and efteemed. But the 
 affluence in which he lived, led him into fome indifcretions, and influenced him to refufe 
 to paint any but perfons of the firft diftinclion : nor was he even to thofe always com- 
 plaifant ; for, Frederick I. King of Pruffia having defired him to paint his portrait, 
 Netfcher begun it, and the King feemed exceedingly pleafed with the likenefs, the air, 
 and the expreflion ; yet the painter could never be prevailed on to finifh it, but, from 
 fome unaccountable caprice, fecreted himfelf induftriouflv, till the King quitted the 
 Hague, where at that time Netfcher and his family were fettled. 
 
 In the year 17 15 he went to London, as pay-mafter to the Dutch forces, and was 
 introduced to the Court by Sir Matthew Dekker. He had the honour to be gracioufly 
 received, and acquired incredible fums of money by his paintings, while he continued in 
 England, which was for fix years. But, at his return to the Hague, having loft a 
 confiderable fum, by fome deficiency on account of his employment, he retired in difguft 
 to Hulft, and died in that city. 
 
 This painter had a neat manner of finifhing his pictures, and a very pleafing, natural 
 tone of colour, which rendered his paintings defirable ; and he gained fo much money by 
 his performances, that if he cannot be juftly accounted the beft mafter of the Flemifh 
 fchool, he was perhaps the moll fortunate and fuccefsful. Many of his portraits are to be 
 met with in England and Holland ; and he copied fome of the works of Vandyck with fo 
 much accuracy, that they are capable of deceiving even a judicious connoifTeur. 
 
 Constantine NETSCHER. 
 Painted Portrait. 
 
 DIED 1722, AGED 52. 
 
 . He was born at the Hague, in 1670, being the fon of Gafpard Netfcher, by whom he 
 was carefully inftrudted in his artj but when Conftantine was only fourteen years of 
 age, he was deprived of his father, and loft the advantage he might have derived from 
 the precepts of fo able a director. However, he took pains to improve himfelf by the 
 
 ftudies 
 
N E V 
 
 I 457 3 
 
 NIC 
 
 fludies of Gafpard; he copied feveral of the portraits painted by his father, and found 
 them to be the fineft models he could poflibly have .fixed on to teach him neatnefs ^f touch 
 and delicate colouring. And the exa&nefs of the copies he made, fo efte&ually formed 
 his hand, while his knowledge was improved by an attentive fludy after nature, that he 
 very foon diftinguifhed himfelf as an artift of eminence. 
 
 He painted his figures in the fame fize as Gafpard's, and had the felicity to give them 
 a ftriking refemblance, though at the fame time he embellifhed nature, by producing a 
 pleafing, agreeable, and flattering likenefs^ efpecially in the portraits of females, which 
 had an unufual frefhnefs and life. The Duke of Portland, whofe portrait he drew, 
 folicited him earneftly to go with him to England ; but every beneficial offer proved 
 ineffectual, as he was very infirm, for he was often feverely interrupted in his work by 
 the gravel, which at laft carried him off, univerfally regretted. 
 
 He certainly did not arrive at the excellence of his father, ihough he is defervedly 
 efteemed as a fine painter of portraits. One of his moft capital performances is a 
 family pi&ure of the Baron Suoflb, confifting of feven or eight figures; in which picture 
 a dog is introduced, that was painted by Vander Does. 
 
 Ma t-hys NE. VEU. 
 Painted Convcrfations^ Concerts^ and Balls. 
 
 DIED 1721, AGED 74. 
 
 He was born at Leyden, in 1647 ; firft was a difciple of Toorn Vliet, who inftructed 
 him in defignj but afterwards he ftudied under Gerard Douw. The fubje&s which he 
 chofe to paint were merry-makings, concerts of mufic, mops with various kinds of goods, 
 ladies and gentlemen at tea, cards, or different fports and amufements., which were well 
 clefigned, extremely neat in the finifhing, and excellently coloured. 
 
 A very capital compofition of this mafter is, the feven works of mercy, confuting of 
 a number of figures difpofed with proper attitudes ; the airs of many of the heads are 
 elegantly defigned, and have a proper expreffion ; the colouring is clear, and the whole 
 is highly finifhed, with a great degree of fpirit and harmony. And yet it muft be 
 acknowledged, that notwithftanding the apparent merit of this matter's work in that 
 compofition, efpecially in refpe£r. of defign and penciling, it is not without fome appearance 
 of negligence, and want of accuracy in particular parts'. 
 
 >fICCOLETTO. Vid. Nicolo CASSANA. 
 
 Messer NICOLO da Modena, and dei, Abe-ate. 
 
 Painted .Hiflory. 
 
 died 1572, aged 60. 
 
 He was born at Modena, in 1512, and was a difciple of Primaticcio, of whofe fchool 
 fee was a principal ornament. He had a confiderable genius, and painted in the ftyle and 
 
 M m m . manner 
 
N I E [ 458 ] NIK 
 
 manner of his mafter, though his figures were not quite To tall as thofe of Primaticc:c-> 
 He aflif&d his mafter in many of his grand compofitions at Bologna and Modena, and 
 acquired great honour by his performances ; for he was indefatigable in his endeavours to: 
 arrive at perfection in his art. His chiefeft excellence was in frefco painting, which he 
 finifhed with fo great a degree of fkiil, that the entire work which perhaps might have 
 engaged him for feveral years, appeared as if it had been finifhed in one day; and he 
 was fo very expert, that he never had occafion to retouch his work after it was dry, which: 
 preferved the purity and luftre of his colours. . 
 
 ■ Vafari mentions a grand ball-room (probably the falon at Fontainbleau) painted by 
 Nicolo, after a defign of Primaticcio, in which there were fo many figures, that it was 
 difficult even to count them, and every figure was as large as life. It was painted in. 
 frefco, but had all the force and union of oil-painting; 
 
 ' At Wilton, in the collection of the Earl of Pembroke, it is faid that a picture of. this 
 mafter is preferved, of which the fubjecl is a concert of mufic 
 
 William Van NIEULANT, 
 
 Painted Landscape and Architecture. 
 
 DIED 1635, AGED 51. 
 
 He was born at Antwerp, in 1584, and at firft was a difciple of Roland Savery, who* 
 taught him defign and colouring ; and he ftudied under his direction till he was qualified 
 to follow his profeflion with credit. But being very delirous to extend his knowledge,, 
 he travelled to Rome, and lived with his countryman Paul Bril for three years, during 
 which time he employed himfelf in defigning the moft curious remains and monuments ., of 
 antiquity, the triumphal arches, baths, and ruins of magnificent edifices about that city, 
 which he afterwards introduced agreeably in all his future compofitions. 
 
 While he continued in Italy, he painted in the manner of Bril ; but, on his return to 
 Holland, he altered his maimer confiderably. His colouring is pleafing and natural, 
 though fometimes rather too green; his fituations are generally taken from nature; his 
 diftances are judicioufly managed ; his pencil is free and mafterly; and his figures, though 
 not in the tafte of the Italian fchool, are defigned with tolerable correctnefs. 
 
 John Van NIKKELEN. 
 Painted Landfcapes and Flowers. 
 
 DIED I716, AGED 67. 
 
 He was born at Haerlem, about the year 1649, and learned the art of defigning from 
 his father, who was a good painter of peripective in the manner of Van Vliet, and 
 pajticularly chofe for his fubjects the infides of churches. However, as foon as Nikkelen 
 had perfected his ftudies under his father, he no longer adhered to his ftyle of painting, 
 % but 
 
N I M [ 459 ] N 1 M 
 
 hut employed his pencil in landfcapes; and alfo rendered himself very diftinguifhed by an 
 unufual method of reprefenting flowers painted on fatin, which had a lively and pleafmg 
 effect. 
 
 His works in that way were exceedingly admired, and procured him the favour of the 
 Elector Palatine, and alfo of the Prince of Heffe-Caflel, fox whom he finifhed a great 
 number of pictures; and was for feveral years retained in their Courts . in conftant 
 employment. 
 
 Tobias Van NIMEGUEN, and Elias Van NIMEGUEN, Brothers. 
 'They painted the fame fubje£ls\ Hiftory, Architcclure^ Landfcapey and Flowers. 
 
 ELIAS DIED I745, AGED 78. 
 
 The latter of thefe brothers was born at Nimeguen, in 1667. His father died when 
 he was very young ; and his elder brother, who had fome notion of portrait and flower 
 painting, undertook the inftruction of thofe who were very much younger, and to the 
 utmoft of his ability taught them the firft principles of the art. But he dying in a few 
 years, Elias was deprived of all afliftance in his profeflion, and was reduced to the 
 neceflity of providing for the reft of his family. In that uncomfortable fituation, he, 
 and Tobias his younger brother, applied themfelves indefatigably to ftudy and defign 
 after nature; and they practifed with fuch fuccefs, that their wonderful proficiency fur- 
 priled the beft judges, and all their cotemporary artifts. 
 
 The beft proof of their abilities was ftiewn in a work executed for the Baron de 
 Wachtendonk. The compolition was noble and extenfive; the cielings were adorned 
 with hiftorical figures in fome of the compartments, and in others embelliftied with 
 flowers and bas-relief; and the colouring and defign of the whole fo effectually raifed 
 their reputation, that it recommended them to the patronage of the Princefs of Orange, 
 who employed them to paint feveral defigns in the apartments of her palace. 
 
 Tobias was invited to the Court of the Elector Palatine, and was retained in the fervice 
 of that Princes but Elias went to fettle at Rotterdam, where he had as much employment 
 as he could poflibly undertake, and at laft was aflifted in the execution of his works by 
 his nejphew and his fon. Thofe young artifts had been carefully educated under the 
 direction of Elias; and it was obfervable that the preceptor and his pupils were fo 
 exceedingly funilar in their touch, ftyle, and colouring, that thofe works which they jointly 
 performed, feemed to have been the work of only one hand. 
 
 Elias painted hiftory, landfcape, and flowers, with an abundance of merit, but he 
 excelled in perfpective and architecture. His colouring is clear and bright, his pencil 
 light and firm; his figures are well defigned and difpofed., though not always elegant j 
 and his composition is extremely rich. 
 
 M mm 2, Pomenique 
 
NOL 
 
 C 460 ] 
 
 N U Z 
 
 • DomeniqjjeNOLLET. 
 
 Painted Hi/lory, Landfcape y and Battles* 
 DIED 1736, AGED 96. 
 
 He was born at Bruges, about the year 1640, and diftinguiflied himfelf fo much in his 
 profefilon, that he was appointed principal painter to Maximilian Duke of Bavaria, with 
 an honourable penfion. Sometimes he painted hiftorical fubjectsj but his greateft pow. S 
 was vifible in his battles and landfcapes. The former he executed with great truth and 
 fpirit; and in the latter his trees were touched with a mafterly pencil, and were well coloured. 
 
 It was cuftomary with him to lay on a ftrong body of colours, which at a competent 
 diftance had a very good effect, and in the whole produced harmony and warmth. He 
 defigned correctly, and in his tafte of compofition refembled Vander Meulenj but he was 
 not equal to that mafter. His moft capital performance is the representation of a battle 7 
 which is now in a collection at Bruges j it has frequently been accounted the work of 
 Vander Meulen, and is not unworthy of him- 
 
 Mario NUZZI, called Mario da Fiori. 
 Painted Flower s> Fafes, and Shells. 
 DIED 1673, AGED 70. 
 
 He was born at Penna, a village in the kingdom of Naples, in 1603, and was the 
 difciple of Tomafo Salini, his uncle. Nature was his inceflant ftudy, and he imitated 
 her with fo beautiful an exaclneis, that it is impoflible to behold his paintings, without 
 feeling the fame pleafure that every object would excite, if viewed in its full perfection 
 as it grew. His pencil is inexpreflibly light, though his colouring had an extraordinary 
 force and truth, with a character of elegant nature in his choice and difpofition. 
 
 His earlieft productions having been purchafed by a dealer in pictures, and fold at 
 Rome for a much higher price, induced him to vifit that city, where he received fo many 
 proofs of the efteem of all the ableft judges of painting, that he was foon in affluent 
 circumftances. But he found a much greater demand for his works from the Princes 
 and Nobility of different parts of Europe, than he found even in Rome, his pictures 
 being purchafed as faft as they were finifhed. 
 
 This mafter omitted not any labour or ftudy that could contribute to his arriving at 
 perfection i and his fuccefs was equal to his hope. He felected the moll beautiful flowers 
 for his fubjedts, he imitated them with amazing luftre and brilliancy, and obtained the 
 honour of being ranked among the greateft artifts in that ftyle of painting. 
 
 A capital picture by Mario da Fiori is in the church of St. Andrea della Valle, at 
 Rome; it is a wreath of flowers, encircling the portrait of St. Gaetano, which wa? 
 painted by Andrea CamafTei. 
 
 * 
 
 > 
 
O D A 
 
 C 46* J 
 
 O LI 
 
 o. 
 
 Giovanni ODAZZI, , 
 Painted Hi/lory. 
 
 DIED I73I, AGED 68. 
 
 TfflS artift was born at Rome, in 1663, and at firft was the difciple of Ciro Ferri $ 
 but, after -the death of that mafter, became the difciple of Giovanni Battifta Gauli, called 
 Baccici. The livelinefs of his genius, affifted by fmgular induftry, rendered him in a 
 fhort time eminent ; and he gained great reputation, by a noble compofition which he 
 painted in the church di Santi Apoftoli, of which the fubjedt was the Fall of Lucifer 
 and his Angels. 
 
 His merit recommended him fo highly, that he was one of the twelve artifts felected 
 to paint the twelve Prophets in frefco, in the church of St. John Lateran, above the 
 twelve marble ftatues of the Apoftles. The prophet which Odazzi painted was Hofea, 
 and it was exceedingly commended, particularly for the correctnefs of the defign. 
 
 He was indefatigable at his work, had great freedom of pencil, and painted expedi- 
 tiouflyj but that quick manner of finiihing, frequently occafioned a little incorrectnefs, 
 though the contours of his figures were extremely good. , 
 
 Isaac OLIVER. 
 Painted Portrait and Hijiory. 
 
 DIED l6l7, AGED 6l. 
 
 He was born in England, in 1556, and ftudied under Hilliard ; but received fome 
 farther inftruftions from Frederick Zucchero, and became a painter of great eminence. 
 His principal employment was for portraits, and in that ftyle he worked for the moft 
 diftinguifhed perfonages of his time j, but he likewife painted hiftorical fubjects with great 
 fuccefs. He was a good defigner, and alfo very correct j his touch was neat and delicate; 
 and although he generally worked in miniature, yet he frequently painted in a large fize. 
 His drawings are highly finilhed, and exceedingly vdued, many of them being copies 
 after Parmigiano. 
 
 Several very fine miniatures of this mafter are to be feen in the collections of the 
 Englifti Nobility and Gentry; fome of them portraits of himfelf, others of Queen 
 Elizabeth, Mary Queen of Scots, Prince Henry, and Ben Jonfon, which are admirably 
 finifhed. There is alfo a whole-length of Sir Philip Sidney, in which the handling is 
 exceffively neat, and nature truly as well as beautifully imitated. Rubens and Vandyck 
 painted James I. after a miniature picture of this mafter, which is a fufficient teftimony 
 
 of 
 
O L I 
 
 C 462 ] 
 
 O O R 
 
 of his merit \ and his works are at prefent in as high efteem as they could poffibly have 
 b:en in the time when he flourifhed. 
 
 In the clofet of Queen Caroline, at Kenfington, there is a capital drawing of Oliver's, 
 of which the fubject is, the placing of Chrift in the Sepulchre ; and another drawing 
 after Raphael's defign of the murder of the Innocents, which has a great deal of merit. 
 
 He fometimes worked in oil as well as in water-colours ; but thofe which he painted 
 in that manner are not univerfally approved, being much condemned by fome con- 
 noiffeurs, and accounted only indifferent by others. 
 
 Peter OLIVER, 
 Painted Portrait. 
 
 DIED l660, AGED 59. 
 
 He was the Ton and difciple of Ifaac Oliver, born in 1601; and by the precepts and 
 example of his father, he arrived at a degree of perfection in miniature portrait painting, 
 eonfeffedly fuperior to his inftructor, or any of his cotemporaries, as he did not confine 
 his fubjects to a head only. 
 
 In the collection of King Charles I. and James II. there were thirteen hiftorical fub- 
 jects painted by this Oliver, of which number feven are ftill preferved in the clofet of 
 Queen Caroline at Kenfington ; and a capital picture, of his painting, is in the poflemon 
 of the Duchefs of Portland, being the wife of Peter Oliver. 
 
 John Van OOLEN. Vid. John Van Alen, 
 
 Adam Van OORT. 
 Painted Hijlory, Portrait., and Landfcape, 
 
 DIED 1641, AGED 84. ! . 
 
 He was born at Antwerp, in 1557, and was the fon of Lambert Van Oort, a painter 
 of confiderable reputation, for perfpective and architecture. Adam was inftructed in 
 the art by his father, and afforded fufficient proofs of his having an enlarged genius ; fo 
 that he foon rofe into efteem, not only as a painter of hiftory, but as an able artift in 
 landfcape and portrait. But the greateft honour of Van Oort proceeded from his having 
 been the firft inftructor of Rubens, whofe works have eternized his mafter's memory 
 along with his own. 
 
 Naturally he was of a rough and difagreeable temper, which occafioned him to lofe the 
 love of his difciples and his friends ; and among the number, he totally forfeited the 
 efteem of Rubens his beft pupil. Jordaens was the only perfon who accommodated hi mfelf 
 to the favage humour of his mafter; but it appears probable, that he condefcended to endure 
 
 - • his 
 
OOS C 4^3 ] 00s 
 
 his morofe behaviour, out of affection to the daughter of Van Oort, to whom Jordaens 
 was afterwards married. 
 
 In his ftyle of painting he neglected nature, and was entirely a mannerift; nor did he 
 feem to have any regard to painting as a fine art, but merely as an art that might be 
 the means of making him rich. In his heft, time his. compofition was agreeable, and his 
 defign correct ; but, in his latter" time, his works had nothing to recommend them, except 
 the freedom of handling v and the goodnefs of their colouring; yet, with all his defects, he 
 was accounted a good painter. Rubens uled to fay, that Van Oort would have furpaffcd 
 all his cotemporaries, if he had feen Rome, and formed his tafte by -ftudying after the belt 
 models. He painted a great number of defigns, for the altars of churches in Flanders, 
 which have a great fhare of merit in feveral parts ;.and they are ftill beheld with pleafure 
 by good judges.- 
 
 Ja c qjj E-s Van O O S T, called the Olo%- 
 Painted Hijiory, Land/cape, and Architeflure, 
 
 DIED 167I, AGED 71. 
 
 This painter was born at Bruges, about the year 1600, and learned the art in his. 
 native city, though it is not afcertained by what mafter he was inftru'eted ; but he travelled 
 to Italy, to ftudy after the works of the great mafters, and copied every thing that pleafed 
 his own tafte, or that he thought might contribute to his improvement. However, 
 among all the famous artifts, he attached himfelf particularly to the ftyle of Annibal 
 Caracci, and imitated him in fuch a manner as to furprife the moll, able connoiffeurs at 
 Rome. 
 
 With a well-eftablifhed reputation he returned to his own country; and although he 
 was indefatigable in his bufmefs, yet he had as much employment as he could poffibly 
 undertake ; and even to the laft day of his life, his pencil was continually in his hand, by 
 which means, the number of paintings finifhed by this mafter is almoft incredible, parti- 
 cularly if it be confidered that his compofitions were always of a large dimenfion. 
 
 He poftefied many of the accomplifhments of a great painter. His touch and his 
 colouring were good ; he introduced but few figures in his defigns, to avoid incumbering 
 his fubject; and he difpofed them with a great deal of {kill and elegance,- giving them 
 fuch draperies as were fimple and natural. Hedefigned in a good tafte; and though his 
 ftyle of compofition refembled that of Annibal, yet it was lefs charged than the defigns 
 of that mafter ufually are. In his carnations, his colouring was frefh and like nature; 
 but he is not fo commendable in the colour of his draperies, which is fometimes fo 
 broken as to give the ftuffs an appearance of hardnefs. He underftood perfpective and 
 architecture extremely well; and as he was not fond of painting landfcape, (though occa- 
 sionally he painted it well) in the ftead of it, he ornamented his back grounds moft 
 frequently with buildings, columns, arches, and different pieces of architecture, which 
 gave his compofition a grand effect. 
 
 The 
 
 # 
 
o o s 
 
 [ aH 3 
 
 op s 
 
 The moft admired picture of Van Ooft, is in the church of the Jefuits at Bruges ; the 
 fubject of it is, a Defcent from the Crofs; in which the defign, the difpofition, the 
 ^xpreffion, colour, and chiaro-fcuro, are worthy of the higheft praifes. 
 
 J a c qjj es Van OOST, called the Young* 
 Painted Hi/lory and Portrait. 
 
 DIED 17 13, AGED 76. 
 
 He was born at Bruges, in 1637, and received his inftruction from his father Jacques ; 
 being, even before he quitted that fchool, accounted an example to all his fellow difciples, 
 for afliduity in practice, and eagernefs to acquire knowledge. As he afforded fuch 
 manifeft proofs of a promiiing genius to the art of painting, he was permitted to vifit 
 Rome ; and while he continued in that city, he devoted his whole time to examine the 
 antiques, to defign after them, and to copy the works of the moft celebrated painters. 
 In that courfe of ftudy he fpent feveral years, and quitted Italy with regret, though it 
 was in order to return to his native country. 
 
 At Lifle, through which he travelled, he happened to be foliated to paint portraits ; 
 and he fucceeded fo happily, that he was earneflly invited to fettle there ; all the principal 
 families in that city feeming to be ambitious of being perpetuated by his hand. In 
 hiftorical fubjects his figures were correct, and the expreflion was remarkably good ; his 
 draperies were caft in a grand tafte ; his colouring was of a pleafing tone, and had a fine 
 effect ; and his ftyle of defign was entirely of the Roman fchool. His compofitions, like 
 thofe of his father, were always in a large lize ; and he performed a great many excellent 
 works, in the churches of Bruges and other cities of Flanders. His moft capital painting 
 is in the church of St. Stephen at Lifle ; the fubject is the Martyrdom of a Saint, and it 
 is extremely well executed. 
 
 Caspar Jac qxj e s Van O P S T A L. 
 Painted Hijiory and Portrait. 
 
 He was born at Antwerp, in 1660, where he was regularly inftructed in colouring 
 and defign, and became, after fome years fpent in ftudy and practice, a very good painter 
 of hiftory ; but he is much better known by the paintings which he has executed, than 
 by any incidents of his life, recorded by the writers on this fubject. 
 
 In the year 1704, he was employed by Marefchal Villeroy, to copy the Defcent from the 
 Crofs, after the moft admired picture of Rubens, in the church of Notre Dame at Antwerp, 
 which he executed with a freedom of pencil, with a tint of colouring, and with a touch 
 nearly refembling the original. His compofitions embellifh feveral of the churches of the 
 Netherlands; and he was frequently employed by other artifts, to paint figures in their 
 landfcapes and flower-pieces, efpecially the figures of nymphs and boys. He had a good 
 3 genius 
 
ORG 
 
 C 4^5 1 
 
 O R I 
 
 genius for defign, in which he mewed correctnefs and tafte j he compofed his fubjects 
 readily, and in his colouring was very agreeable ; fo that he was confidered as one of the 
 principal painters of his time, being particularly diftinguiflied for brilliancy in his touch, 
 and freedom in his handling. 
 
 In the hall of the Royal Academy at Antwerp, is preferved a noble portrait of one of 
 the directors, by this mafter j and in the cathedral of St. Omer's there is an excellent 
 picture by Van Opftal, reprefenting the four famous fathers of the church, in a grand 
 ftyle. 
 
 Il ORBETTO. Vid. Alexander Veronese. 
 
 Andrea ORGAG-NA, or di Cione. 
 
 Painted Hijlory and Portrait. 
 died 1389, aged 60. 
 
 This ancient mafter was born at Florence, in 1329, and was at firft bred to the pro- 
 feffion of a fculptor, under Andrea Pifana ; but afterwards he ftudied defign, and the 
 art of painting in diftemper and frefco, under the direction of his brother Bernardo 
 Orgagna, who aflifted him in many of his works, and particularly in the frefco painting, 
 in the chapel of St. Maria Novella. 
 
 He painted in the ftyle of thofe ancient mafters who flouriftied in his time ; and was 
 accounted to imitate nature fo truly, as to make fome of his fubjects feem absolutely 
 alive, if the teftimony of Vafari may be credited. He was alfo excellent as a ftatuary 
 and an architect, and in both manifefted extraordinary abilities. 
 
 The moft remarkable of his works are at Florence and Pifa j and in the latter city, he 
 painted a defign of the Laft Judgment, in which moft of the figures were portraits j and 
 it was obferved, that he placed all his friends among the happy, and all thofe who were 
 his enemies, or objects of his diflike, he diftributed among the infernals. 
 
 As he was equally eminent for fculpture and painting, and feemed defirous that pofterity 
 Ihould know his ability in both arts, it was his ufual cuftom to infcribe on his fculptures, 
 Andrea di Cione the painter made it j and on his paintings, Andrea di Cione the fculptor 
 painted it. 
 
 John Francis Van Bloemen, called ORIZONTI, or Horizonti. 
 
 Painted Landfcape. 
 DIED 1740, aged 84. 
 This painter, although a Fleming by birth, is confidered as an Italian mafter ; becaufe 
 he ftudied at Rome, and always refided in fome part of Italy. He Was born at Antwerp, 
 m 1656; but it is a point undetermined, from what mafter he originally learned the art 
 of painting. 
 
 When he arrived at Rome, he not only attentively obferved the beautiful fcenes in the 
 environs of that famous city ; but he alfo -ftudied the works of thofe great artifts who, 
 
 N n n before 
 
O R L. 
 
 O R t, 
 
 before his time, had copied after nature in thofe places, to make defigns for their land*- 
 fcapes ; and took every judicious method to improve his tafte, and explore every fecret 
 of the art he profeftcd. The firft of his performances which were exhibited in Rome, were 
 received with general approbation; and. evidently fhewed the greatnefs of his genius,- 
 and the promife of that merit by which he was afterwards diftinguifhecL His real name 
 was John Francis Van Bloemen; but the Bentvogel Society at Rome gave him the name 
 of Orizonti, or Horizonti, on account of the natural receding of the objects in his compo* 
 fitions, and the delicate manner of his conducting and extending his diftances. 
 
 His works were wonderfully admired in every part of Italy, and were bought up at 
 great prices, by the beft judges of the art in thofe kingdoms. He died at Rome in the- 
 higheft efteem, and was, as much a favourite of the Italian artifts > as of the artifts and 
 connoiffeurs o£ other countries.. His firft manner refembled that of Vander Cable; but 
 afterwards he made nature entirely his model, and in particular the views about Tivoli,. 
 Thofe enchanting fceneshemade the fubjects of many of his landfcapes, which were- 
 diverfified.. with groves, declivities of hills, and grand falls of water; often reprefenting 
 with extraordinary beauty and truth^the mifts arifing from the agitated fur face of the 
 river below* 
 
 His pictures are generally welLdefigned and well handled ; and thofe of his beft time 
 are now confidered as an ornament to the moft felect cabinets in Europe. He lived to a 
 great age ; and as years and infirmities advanced upon him, neither his imagination nor 
 his pencil produced, equal ideas, or equal execution, to place his latter works in compe- 
 tition with thofe which he painted in the full vigour of all his powers. Yet, even in his - 
 laft performances, there is a peculiar tafte of compofition and defign, which will always 
 give pleafure to a judicious obferver. 
 
 A very capital picture by Orizonti, of his beft time, in which the figures were 
 .mferted by Sebaftian Conca, is in the collection of. the Earl of Moira in Dublin. 
 
 Bernard Van ORL.AY, called Bernard, of Brussels. 
 Fainted HiJ}ory y Huntings y and Landfcapes, 
 DIED I560, AGED 70. 
 
 He was born at Bruffels, about the year 1490 ; but went to Rome when he was very 
 young, and had the good fortune to become a difciple of the illuftrious Raphael ; in whofe 
 fchool he proved 10 great a proficient, that he was employed in finifhing many of the 
 grand compofitions of his inimitable mafter ; for he excelled equally in painting hiftory, 
 landfcape, and animals. At his return to Brabant, he was appointed principal painter to 
 the Governed of the Netherlands, and was alfo employed for feveral years by the 
 Emperor Charles V. being confidered as one of the beft painters of his time. 
 
 He had a noble tafte of defign, with an agreeable tone of colouring ; and to give a 
 luftre to his tints, he ufually painted on a ground of leaf gold (efpecially if he was 
 
 employed 
 
O R L 
 
 I 467 3 
 
 OSS 
 
 employed on a picture of confequence) which preferved his colours frefh and luftrous,. 
 The fcenes of his huntings and landfcapes were generally taken from the foreft of 
 Soignies, which furnimed him with an elegant variety; and in thofe he reprefented the 
 portraits of the Kmperor Charles, and the Nobility of his Court. 
 
 The Prince of Nafiau engaged him to paint fixteen cartons, as models for tapeftries, 
 which were intended for the decoration of his palace at Breda. Each carton confifted 
 only of two figures, a Knight and a Lady on horfeback, reprefenting fome of the Naflau 
 family. The defign was exceedingly correct, and in a ftyle of grandeur worthy of a 
 difciple of Raphael ; and taoie cartons were afterwards, by order of the Prince, copied 
 by Jordaens in oil. 
 
 A celebrated picture, of this matter's hand, is in the chapel of aCloifter at Antwerp; 
 the fubject of it is the Laft Judgment-; and it is painted on a gold ground, which gives 
 4he (ky a great deal of clearnefs and tranfparence. 
 
 Richard Van ORLAY. 
 Painted HiJiory y and Portraits in Miniature* 
 
 DIED 1732, AGED 80. 
 
 He was born at Bruffels, in 1652, the fon of Peter Van Orlay, an indifferent painter 
 of landfcapes, from whom he learned the firft rudiments of the art; but he was farther 
 inftructed by his uncle, who was a better artift than Peter, though neither of them had 
 talents equal to the genius of their difciple, who in a fhort time furpaffed both his direc- 
 tors. He diligently ftudied defign, and applied himfelf to practife painting in miniature ; 
 in which he proved fo very fuccefsful, that he compofed hiftorical fubjects in fuch a tafte 
 as procured him honour and employment. 
 
 He finifhed a prodigious number of defigns and portraits; and his compofitions in 
 Jbiftory might induce any one to imagine, that he had fpent his whole life in Italy, by 
 the ftrong refemblance in his ftyle to that of Albano, Pietro da Cortona, and frequently 
 to that of Nicolo Pouflin. The back grounds of his pictures are ornamented with ele- 
 gant architecture and fine perfpective ; and his figures are fo difpofed and grouped, 
 as to fatisfy the eye, and appear diftinct and unconfufed. He defigned correctly, and 
 excelled in etching and engraving as much as in painting. 
 
 N. OSSENBECK. 
 
 Painted Markets, Fxirs, Landfcapes, Converfations, end Cattle. 
 
 DIED 1678, AGED 51. 
 
 This painter was born at Rotterdam, about the year 1627, where he was initiated in 
 the principles of his art; but he accompliihed himfelf in Rome, where he fpent the 
 
 N n n .2 -greateft 
 
O S T 
 
 [ 468 3 
 
 O S T 
 
 greateft part of his life, and painted in the ftyle of Bamboccio, defigning his figures, 
 horfes, and other animals, with abundance of nature and correctnefs. 
 
 His pictures are generally adorned with pieces of antiquity (particularly in the back- 
 grounds), fuch as ruins of antique edifices, veftiges of fuperb monuments, caves, and 
 water-falls, fo exactly imitated after nature, as to juftify an obfervation made by Sandrart 
 and others in regard to his works, that he brought Rome to his own country. 
 
 Moft frequently he chofe for. his fubjects, fairs, markets, and riding fchools, as they 
 afforded him an opportunity of introducing a variety of animals and figures, which he 
 defigned extremely well j and in his compofitions were feen the elegance and correctnefs 
 of the Roman fchool, combined with the colouring and high finifhing of the Flemifh. 
 
 Adrian Van OSTADE. 
 Painted Conversations ^ Dancings^ and Drolls. 
 
 DIED 1685, AGED 75. 
 
 He was born at Lubeck, in 1610, and was a difciple of Francis Hals, in whofe 
 fchool Brouwer was his cotemporary, and there they contracted a moft intimate friend- 
 fliip. He had a lively genius, and fixed on a manner and ftyle peculiar to himfelf ; in 
 which he became equal to the beft mailers of his country, and fuperior to moft. In every 
 fubject he painted, nature guided his pencil j and it feems impoflible not to be charmed 
 by the truth, life, and excellence, that are obfervable in his works. 
 
 When he commenced painter, he lived with one Conftantine Senneport, a great lover 
 and encourager of the art at Amfterdam ; where he foon found an uncommon demand for 
 his paintings, and received fuch prices for them as were ufually high ; yet, although he 
 was exceedingly induftrious, he could fcarce finifli a fufficient number to fatisfy the 
 eager curiofity of the public. 
 
 The fubjects which he chofe to paint were always of the low kind, and he had almoft 
 the fame ideas with Teniers j but, though Oftade copied nature, as it appeared in the lower 
 clafs of mankind, among whom he feemed to be moft converfant ; though his choice was 
 without elegance, imitating uncomely nature without endeavouring to improve it j and 
 accommodating the actions, habits, and characters of his figures, to his own gout ; yet, there 
 is fuch a fpirit in his compofitions, fuch truth, fuch nature, fuch life, and fuch delicacy 
 of pencil, that even while many of his objects are rather difgufting, a fpectator cannot 
 forbear to admire his genius and his execution. 
 
 His pictures are fo tranfparent, and fo highly finifhed, that they have the luftre and 
 polifti of enamel, being alfo warm and clear. Frequently they have a force fuperior to 
 Teniers, and always are more highly finiftied ; though it muft be acknowledged, that 
 Teniers grouped his objects better, and fhewed more fldll in the difpofition of his defign 
 than Oftade. 
 
 He 
 
O S T 
 
 E 4^9 J 
 
 O S T 
 
 He perfectly underftood the principles of the chiaro-fcuro, and introduced his lights 
 and lhadows with fo much judgment, that every figure feems animated ; yet it might be 
 wiflied that he had not defigned his figures fo fhort. His tone of colouring is exqui- 
 fitely pleafing and natural, his touch light and wonderfully neat; and through ail his 
 works there is a peculiar and uncommon tranfparence. 
 
 The figures of Oftade were fo univerfally admired for their lively exprelfion, that 
 feveral of the moft eminent among his cotemporary artifts folicited him to paint the 
 figures in their landfcapes, which at this day give them a great additional value. His 
 works are exceedingly fcarce, efpecially thofe of his beft time and manner; and when 
 the genuine works of Oftade are to be purchafed, no price is accounted too high for 
 them. 
 
 Isaac Van OSTADE. 
 Painted Drolls and Converfations. 
 
 He was born at Lubeck, about the year 1617, the brother of Adrian Oftade, from 
 whom he learned the art of painting ;.• and he entirely imitated the ftyle and tafte of his 
 inftructor. However, he proved in all refpects far inferior to that great artift ; though 
 feveral of his original compofitions, and fome of his copies after Adrian, are very 
 unjuftly afcribed to the elder Oftade, and impofed on the injudicious for the genuine works 
 of that mafter. But, the difparity in the paintings of Adrian and Ifaac is eafily percep- 
 tible; for, in the latter, the touch is very different, the tranfparence abundantly lefs, the 
 penciling not near fo delicate; nor can they, either in force, warmth, or fpirit, admit of 
 being compared with the paintings of the former. 
 
 He died young, before he had arrived at the perfection which years and experience 
 might have given him; or perhaps he might have rofe to a nearer degree of equality 
 with his celebrated brother. 
 
 Maria Van OSTERTWYK. 
 
 Painted Still Life and Flowers. 
 
 DIED 1693, AGED 63. 
 
 This female artift was born at Nootdorp, near Delft, in 1630, and from her infancy 
 fhewed a ftrong difpofition to learn the art of painting ; and afforded fuch early proofs of 
 genius, that her father was induced to place her under the direction of John David de 
 Heem at Utrecht. She ftudied nature attentively, and improved fo much by the precepts 
 of her mafter, that in a fhort time her works might ftand in competition with thofe of 
 her director. 
 
 Her favourite fubjects were flowers and ftill life, which fhe painted in a delicate 
 manner, with a light pencil, and great freedom of hand. She had fo much (kill, as to 
 3 adapt 
 
O V E 
 
 C 470 3 
 
 O U D 
 
 adapt her touch to the different objects fhe imitated; in thofe flowers which from their 
 natural contexture required thin and clear colouring, her handling had all poffible tender 
 tranfparence; and fhe varied her touch in other objects, of fruit and ftill life, which 
 required a greater degree of freedom and ftrength of colour. She grouped the flowers in 
 her compofition with tafte, and imitated their frefhnefs and bloom in an admirable manner* 
 giving them a richnefs and beauty, by a judicious oppofition of their different colours, 
 To that the whole together produced inexpreflible harmony. 
 
 Lewis XIV. was exceedingly pleafed with her performances, and honoured one of 
 them with a place in his cabinet.; as alfo did the Emperor and Emprefs, who lent their 
 own portraits fet round with diamonds to this paintrefs, as a mark of their particular 
 refpect for her merit. King William III. gave her nine hundred florins for one picture, 
 and (he was much more highly rewarded by the King of Poland 
 
 As (he (pent a great deal of time in giving her works the utmoft finifhing, it was 
 impoffible for her to be expeditious j fhe could finifh but few, in companion with other 
 artifts, and that hath rendered her paintings exceedingly fcarce, and extremely valuable. 
 
 OTHO VENIUS. Vid. Venius. 
 
 1 
 
 J U R I A AN OVENS. 
 
 Painted Hi/lory, Portraits, and Night-pieces. 
 
 He was born in 1620, and educated to the profeflion of painting in the fchool of 
 Rembrandt, under whom he became an artift of considerable diftinction; and his colouring 
 being very bold and ftrong, produced a noble effect. He painted hiftorical fubjects and 
 portraits extremely well; but his principal pleafure was to defign and paint night-pieces, 
 which he executed with a true refemblance of nature, and with remarkable force. 
 
 In the Tholfel (or town-hall) of Amfterdam, is prefer ved a beautiful performance of 
 this mafter, reprefenting Julius Civilis in the confecrated grove, exhorting and animating 
 the Batavians to fhake off the Roman yoke, and to fight for the fupport of their liberties. 
 And as the confultation of the Batavians was held in the night, it afforded the painter an 
 opportunity of exerting his genius in his favourite ftyle of painting, by reprefenting the 
 , tranfaction with the light of flambeaux and fires. This fingle performance is accounted 
 iufficient to eftablifh his reputation as a great mafter. 
 
 Andrea OUCHE. Vid. Sac.chi. 
 
 .Robert Van OUDENARDE. 
 
 Painted Hi/lory and Portrait. 
 
 DIED I743, AGED 80. 
 
 He was born at Ghent, in 1663, and at firft was inftrucled by Mierhop; but afterwards 
 he ftudied under Van Cleef and feveral other mafters, till he was in his twenty-fecond 
 5 year. 
 
ouw 
 
 C 47* J 
 
 OUW 
 
 year. At that age he obtained liberty to travel to Italy, being fuppiied with letters of 
 recommendation to fome perfons of diftincticn at Rome; and foon after his arrival in that 
 city, he became the difciple of Carlo Maratti. 
 
 Being happily fixed under the guidance of fo eminent a mafter, Carlo difcovered that 
 his pupil had an apt genius and good judgment; and Oudenarde, by fhewing himfelf 
 unwearied in practice and ftudy, not only acquired the favour of his inftructor, but alfo 
 diftinguifhed himfelf above moft of' the difciples in that fchool. However, he was for 
 fome time flopped in his progrefs by a trifling incident, which was very near occalioning 
 the lofs of Carlo's regard and fricndfhip for ever. 
 
 It was the ufual cuftom of Oudenarde, at his hours of leifure, to practife engraving, 
 In which art he was a tolerable proficient; and wanting a fubjedt, he happened to fix on 
 a fketch of the Marriage of the Virgin,., painted by his mafter. When the plate was 
 fmifhed, feveral impreffions were ftruck off, which circulated through different hands; 
 and one of them happened to be noticed by Carlo, as he palled by a printfeller's fhop. 
 This was coniidered by Maratti as an unpardonable offence, and he expreffed the moll 
 violent refentment againft his pupil, for publifhing any of his defigns without his concur- 
 rence or approbation; and, on account of that indifcretion, he excluded him from his 
 academy. Yet, after fome time, Carlo pardoned the fault, condefcended to a reconciliation, 
 received Oudenarde into his fchool, and they continued clofely connected in friendfhip as 
 long as Maratti lived. 
 
 This artift (pent above thirty years at Rome, in great efteem with all orders of people; 
 and was particularly patronized by Cardinal Barbarigo, Bifhop of Verona. He painted 
 entirely in the tafte and manner of Carlo, in a ftyle of colouring that had a great deal 
 of force and fpirit, and with corre£tnefs of defign,. At laft he vifited his native city, 
 though with a refolution of returning to Italy, after a fhort flay in his own country; but 
 that project was difconcerted by the death of the Cardinal, his protector and his friend. 
 He therefore fettled at Ghent, where he was perpetually engaged.in grand works for the 
 churches, convents, and palaces of the Nobility ; and alfo for painting portraits, in which 
 he was peculiarly fuccefsful. 
 
 Albert OUWATER, 
 
 Painted HjjJory. 
 
 DIED 1515, AGED 71. 
 
 He was born at Haerlem, in 1444,, and painted in a grand ftyle, principally in oil. 
 He had a free and mafterly manner of handling, with a good exprefiion, and a natural and 
 lively tint of colouring. He was particularly exact in the extremities of his figures, and 
 in the difpofition of his draperies ; and wherever he introduced landfcape in his defigns, 
 it was accounted to be in a ftyle fuperior to any of his cotemporaries. 
 
 In the church of Haerlem, he painted a picture for the great altar, in which (according 
 to Sandrart) he introduced two figures as large as life of St. Peter and St. Paul. It was 
 
 adorned 
 
PAD [ 472 ] PAD 
 
 adorned with landfcape, defigned in an elegant tafte; and in feveral parts of the fcene, he 
 reprefented Pilgrims in a variety of actions and attitudes, fome walking, fome reclining 
 under the fhades of large trees, and others at their repaft; and from his fkill fiiewn in 
 painting the heads, hands, feet, and draperies of the figures, fo correct, and in fo good 
 a ftyle, it muft appear conclufive, that he was a very eminent artift in his time. 
 
 P. 
 
 .Paolo Antonio PADERNA. 
 
 Painted Hijlory and Landfcape* 
 
 DIED I708, AGED 59. 
 
 JHLe was born at Bologna, in 1649, and at firft was a difciple of Guercino; but, after 
 the death of that mafter, he ftudied in the fchool of Carlo Cignani. While he continued 
 under the direction of Cignani, he employed himfelf principally in hiftorical compofitions; 
 yet his greateft delight was to paint landfcapes, in the manner of Guercino ; and thofe 
 were extremely commended for the goodnefs of the defign, and for the freedom of touch 
 with which they were finifhed. 
 
 Francesco PADUANINO. 
 Painted Portrait and Hijlory. 
 
 DIED 1617, AGED 65. 
 
 He was born in 1552; but the mafter from whom he derived his knowledge of the art 
 of painting, is not mentioned by the author from whom this account of him was extracted. 
 He was an artift of great eminence and fuperior talents; and in the hiftorical fubjecls 
 which he executed, fhewed an excellent genius, and a grand tafte. His invention was 
 fruitful and fine, and his ftyle of defign correct and elegant. He was alfo an admirable 
 painter of portraits, to which he gave fuch dignity, expreflion, and lovely colouring, as 
 rendered them equal to the performances of the greateft mafters in that ftyle; and his 
 portraits of the Earl and Countefs of Arundel will always afford convincing proofs of 
 his extraordinary merit. 
 
 In the church of Madonna del Carmini at Venice, there is a picture by this mafter, 
 which reprefents the deliverance of two perfons condemned to death, by the' interpofition 
 of a Saint. It is a beautiful performance, with good colouring and elegant figures, and 
 it is penciled with wonderful tendernefs and delicacy. 
 
 Octavio 
 
PAD 
 
 C 473 ] 
 
 PAG 
 
 Octavio PADUANINO. 
 
 Painted Portrait. 
 
 AGED 52. 
 
 He was the fon of Francefco, who taught him the principles of defign and colouring; 
 and when he had made a competent progrefs, he was fent to Rome for his farther 
 improvement, and ftudied there for feveral years. 
 
 He painted in the manner of his father, but was inferior to him in refpedT: of invention 
 and elegance j though in many parts of his profeflion he deferved commendation, and he 
 particularly excelled in painting portraits. 
 
 PADUANINO. Vid. Dario Varotari. 
 PADUANINO. Vid. Alessandro Varotari, 
 
 Paolo PAGANO. 
 
 Painted Hijiory. 
 
 DIED I716, AGED 55. 
 
 He was born at Milan, in 1661, and ftudied the art of painting at Venice, where he 
 refided for feveral years, and made a very confiderable figure, as a good defigner and 
 colourift. The ftyle of this matter may be fufficiently conceived by the account given of 
 his compofitions by Mr. Cochin, an ingenious writer, fecretary to the Royal Academy of 
 painting, who by order of the King of France travelled through Italy, to make obfer- 
 vations on the works of the great matters, preferved in the different cities of that 
 country. 
 
 The painting defcribed by that gentleman, is on the ftaircafe of the Scuola Grande 
 della Mifericordia at Venice ; and it reprefents one of the works of Mercy, that of 
 Cloathing the Naked. The manner in this performance is commendable, the lights are 
 broad, there appears a great deal of the grand tafte in the defign, and the compofition is 
 extremely good, 
 
 Gregorio PAGAN I. 
 Painted Hi/lory* 
 DIED I560, AGED 31. 
 
 He was born at Florence, in 1529, but he ftudied at Rome with Polidoro and Maturino, 
 and made a remarkable proficiency j fo that, when he returned to Florence, he found 
 immediate employment, and acquired a great reputation. Giacomo da Puntormo, having 
 attentively viewed and examined fome of the paintings of Pagani, declared, that if he had 
 
 O not 
 
PAG 
 
 f 474 ] 
 
 PAL 
 
 not known them to be of the hand of that mafter, he ftiould without hefitation have 
 concluded that they were the work of Michael Angelo Buonaroti. 
 
 Giovanni BAttista PAGGI, or PAG I. 
 
 Painted Hijiory and Portrait. 
 
 * DIED 1629, AGED 73. 
 
 He was born at Genoa, in 1556, and was a difciple of Luca Cangiagio or Cambiafi; in. 
 whofe fchool he continued till he was perfected in his profeffion, and he then imitated the 
 ftyle and manner of his mafter. 
 
 He poffeffed an uncommon power of his pencil, and had an extraordinary freedom of 
 hand j by which talents he was enabled to imitate the touch of almoft any mafter. And 
 it is recorded of him, that he copied a picture of a very celebrated painter, with fuch 
 exactnefs and precifion, that it was impoffible even for the niceft eye, or judgment, to 
 determine which was the original. 
 
 The portraits which he painted were admirable, as well for the defign as the refem- 
 blance s and the hiftorical compofitions of this artift are commended for the difpofition,. 
 expreflion, and agreeable tone of colouring. 
 
 Francesco P AGLIA. 
 Painted Portraits and Hi/lory. 
 
 This artift was born at Brefcia, and received his inftruction in the fchool of Guercino 
 da Cento j and, by the precepts and example'of that eminent mafter, he proved a difciple 
 worthy of him, his abilities reflecting an honour on the academy where he was taught. 
 
 He painted portraits with every degree of excellence, of which that kind of painting is- 
 capable ; grace, refemblance, dignity of attitude, and wonderful relief ; which he produced 
 by a tone of colouring that was like nature and life. In his compofition of hiftorical 
 lubjects, he was equally admired for a fine invention, for correctnefs of defign, for elegance 
 of tafte, and lovely colouring. 
 
 The beft of his works in hiftory are at Brefcia; but the portraits of his hand are in 
 Venice, and other cities of Italy. 
 
 Archangela PALLADINI. 
 Painted Portrait. 
 
 DIED l622, AGED 23. 
 
 This paintrefs was born at Pifa, in 1599, tne daughter of Filippo Pailadini, an artift of 
 eminence in that city j and was taught the principles of defign and colouring by her 
 father. 
 
 She 
 
 * Some writers fix h's birth in 1566, his death in 1629, and make him only 63 years of age when he died ; but the 
 dates above are fixed from the moll authentic accounts. 
 
PAL 
 
 C 475 1 
 
 PAL 
 
 She arrived at great excellence in portrait-painting, and to that perfection added other 
 accomplifhments, for which (he was equally admired ; for (he excelled in embroidery and 
 mulic, and had a moft charming voice. Thofe uncommon talents, united with an 
 agreeable perfon, procured her the favour and friendmip of Maria Magdalena Arch- 
 duchefs of Auftria, at Florence ; in whofe court me lived univerfally efteemed, as well 
 for her paintings as for her other perfections. 
 
 Antonio PALLAJUOLO, or POLL AJU OLO. 
 Painted Hiftory and Portrait. 
 
 DIED I498, AGED 72. 
 
 • ' ' "ivjfiiiii ifriwp'Mi Vci htii.' / .'■Sr. .:• hrm i \ »;»v. "!<-. ■■■ ■'<■• 
 
 Pietro PALLAJUOLO. 
 Painted Hijiory and Portrait. 
 
 DIED I498, AGED 70. 
 
 Thefe brothers were born at Florence, of low parentage, Antonio in 1426, and Pietro 
 in 1428; and as their father was unable to give them a liberal education, Antonio was 
 placed with Bartoluccio Ghiberti, a very eminent goldfmith, and Peter became a difciple 
 of Andrea del Caftagno. 
 
 Antonio followed his trade with the higheft credit, and defigned extremely well in 
 metals, and in wax j having performed many very eftimable works in both. But, as 
 Peter had at the fame time rendered himfelf confiderable, and was in great reputation for 
 his performances in oil colours, Antonio quitted his original profeflion to learn defign 
 and colouring from his brother ; and they ever after afTociated, in all thofe works which 
 they executed in Florence, and feveral other cities of Italy. 
 
 Peter had been taught the fecret of preparing his colours with oil, by his mafter 
 Caftagno ; and having communicated that knowledge to Antonio, thofe artifts improved 
 it daily by their practice, and diftinguiflied themfelves exceedingly for portrait-painting, 
 as well as for hiftory. Peter in particular painted the portraits of Poggio, who wrote the 
 hiftory of Florence, and of many of the nobility, in a fize as large as life, which procured 
 him the greateft applaufe. Among the hiftorical fubjects which they jointly executed, are 
 mentioned fome of the labours of Hercules, painted in the Medicean palace i one of which 
 is, Hercules killing Antaeus. The principal figure in that defign is admirable; the 
 ftrength of every limb, and the exertion of every mufcle and nerve, in fqueezing Antaeus 
 to death, is incomparably exprefled ; nor is the figure of Antaeus expiring, in any refpect 
 inferior. The other labours are, Hercules killing the Nemaean Lyon, and deftroying the 
 Hydra ; the latter being fo well defigned and coloured, that it had all the appearance of life. 
 
 Thefe brothers lived in high efteem and great affluence; and they died in the fame year, 
 not more rich in their fortune than in their reputation. Few months intervened between 
 the death of the one and the other; and they were both buried in the fame tomb, in the 
 church of St. Pietro in Vincula, at Rome. 
 
 O o o 2 Paj.amedes 
 
PA L 
 
 C 476 ] 
 
 PAL 
 
 Palamedes PALAMEDESZ. Vid. Staeverts. 
 
 Giacomo, or Giacopo PALM A, called the Old. 
 Painted Hijlory. 
 
 *DIED 1596, AGED 48. 
 
 This eminent painter was born at Serinalta, in the territory of Bergamo, (though 
 Sandrart fays, at Venice) in 1548, and was a difciple of Titian. He had genius and 
 iudgment ; and his manner fo much refembled that of his mafter, that he was appointed to- 
 finifii a Defcent from the Crofs, which Titian had begun, but left imperfect. His 
 colouring had extraordinary ftrength and brightrrtfs, occafioned by the frequent retouchings 
 of his pictures ; for it is remarked of him, that he ufually pat his colours on undifturbed* 
 and then touched upon them, and glazed them, giving them the appearance of high 
 finiming, without any appearance of labour. 
 
 The paintings of Palma are in great efteem, for the noble tafte of his compofition, for 
 an exprefiion that was natural and pleafing, for the union and harmony of his colours, 
 for his patience in finiming, and for thofe graceful airs which he generally gave to his 
 heads, though in his defign he was not always correct. 
 
 Vafari defcribes, in very high terms, a compofition of the fold Palma, at Venice ; 
 reprefenting the ftiip in which the body of St. Mark was brought from Alexandria to 
 Venice. In that grand defign, the veflel ftruggling againft the fury of an impetuous 
 tempeft, is exprefled with the utmoft judgment; the diftrefs of the mariners J the violent 
 burfting of the waves againflr the fides of the fhip j the horrid gloom, only enlivened with 
 flaihes of lightning ; and every part of the fcene filled with images of terror ; are fo 
 ftrong, fo lively, and naturally reprefented, that it feemed impoffible for the power of 
 colour or pencil to rife to a higher pitch of truth and perfection j and that performance 
 very defervedly gained him the higheft applaufe. 
 
 Another of his capital paintings at Venice, is a St. Barbara; and in the Palazzo 
 Zampieri, at Bologna, there is a St. Jerom, which is defigned with an admirable character, 
 exceedingly well painted; and the colouring is excellent, if not a little too much inclining 
 to the yellowifli caft. But, notwithftanding all his merit, it muft be confefled that he is 
 often incorrect. 
 
 It is obferved by Vafari, and after him by other writers, that if Palma had died foon 
 after he had painted a few of thofe pictures which were juftly celebrated, he would have 
 defer ved to have been ranked in the firft clafs of eminent artifts ; but he fhewed a very 
 
 inferior 
 
 * The author of the Chronological Tables, contrary to the teftimony of the moft authentic writers, afl'erts, that the 
 old Palma died in 1556, at 48 years of age, which muft fix the year of his birth in 1508, juft 40 years before the time 
 mentioned by all other authors. 
 
 1 Sandrart afcribes this compofition of the <bip in a ftorm to the young Palma, though he fays the Palma that painted 
 it, died in the 48th year of his age j which can coincide only with the period of old Palma, for the younger Palma did 
 not die till he was 84. 
 
PAL 
 
 I 477 1 
 
 PAN 
 
 inferior degree of merit in his fubfequent works; though the imperfections of his latter 
 performances may be overlooked, on account of the excellence of his works in his 
 earlier timer 
 
 Giacopo PALM A, called the Young, 
 Painted Hijlory. 
 *DIED 1628, AGED 84. 
 
 He was the nephew of the old Palma, born at Venice, in 1544, and was the difciple 
 of Tintoretto. In his ftyle, at firft, he refembled that of his mailer ; but having afterwards 
 ftudied the works of Titian with all poflible diligence, his tafteand ftyle in moft of his 
 grand compofitions (hewed a combination of the manners of thofe two great painters. 
 He alfo ftudied at Rome the works of Raphael, Buonaroti, and Polidore, and improved 
 himfelf fo effectually, that his reputation was raifed to the higheft pitch, and the Pope 
 appointed him to paint an apartment, and alfo one of the galleries of the Vatican* 
 
 After the death of Tintoretto, and Giacomo Baflan, he held the firft rank at Venice, 
 among all the artifts of his time ; and every day added to his honour and his fortune. His 
 touch is light; his carnations are lovely ; his draperies judicioufly and happily difpofed, 
 with large and elegant folds ; and in thofe refpe&s he is preferred to the elder Palma his 
 uncle. In the latter part of his life he changed his manner, and aftumed one that was 
 much more expeditious, but proportionably lefs excellent; his hand was as ready, and his 
 pencil as free as Tintoretto's ; and, like that mafter, he feemed, in his declining years, 
 abundantly more ftudious to amafs great riches, than to add to the fame he had already 
 acquired. The works of this mafter are not frequently to be purchafed, and when they 
 are expofed to fale, afford large prices, efpecially if they are of his beft time and manner. 
 
 At Venice there is an exceeding fine compofition, charmingly coloured, reprefenting 
 Venus in her Chariot, attended by feveral naked Nymphs : and in the church of St. Maria 
 Formofa, the great altar-piece is painted by this Palma ; the defign is a Dead Chrift, 
 attended by Angels, with the figures St. John, St. Auguftin, and a Pope ; which is aa 
 incomparable work. 
 
 PANDOLFO, or Reschi. 
 Painted Battles and Landfcape- 
 AGED- 56. 
 
 He was born at Dantzic, and his real name was Refthi ; but having been early 
 inftru&ed in the rudiments of painting in his own country, he went when he was very 
 
 young 
 
 * The editors of the Mufeum Florentinutn, by miftake, have affixed the dates of the death and age of the younger 
 Palma, to the name of the elder, though the younger died in 1628, aged 84, and the elder in 1596, aged 48. And De 
 Piles is alfo guilty of a miftake in fixing the year 1623 for the death of young Palma, when all other writers agree that he 
 
 died in 1628. 
 
PAN [ 478 ] PAN 
 
 young to Rome, where he ftudied after nature, and after the works of the moft eminent 
 matters ; and in a few years diftinguiftied himfelf fo highly among his cotemporary artifts, 
 that the Italians, who detefted the harfhnefs of his name, called him Pandolfo, by which 
 name only he is now known. Bourgognone was the mafter whofe manner and ftyle he 
 particularly admired ; and he felt himfelf fo affected by the colouring and fpirit of that 
 celebrated painter, that he devoted himfelf entirely to imitate him, and fucceeded in it to 
 admiration. 
 
 He had an extraordinary good genius, with a fine invention, and in all his compofitions 
 mewed a fpirit and fire little inferior to his illuftrious model. He difpofed his fubjects 
 with judgment and propriety; the actions and attitudes of his figures and animals were 
 natural and elegant j and he mewed a remarkable correctnefs, as well in the outlines as 
 in the defign. 
 
 He alfo painted landfcapes in an exquifite tafte, moft of them defigned after nature, 
 with a pleafing and beautiful choice. In that ftyle of painting, Salvator Rofa was the 
 mafter which he fixed on for a model; and in thofe fubjects he was full as eminent, as in 
 any others he painted. He adorned his landfcapes with figures of his own defigning, 
 which were exceedingly proper for the fcenes he reprefented, correctly drawn, and with 
 a pleafing tint of colour. 
 
 Paolo PANINI. 
 
 Painted Perfpeftive and Architecture. 
 
 DIED I758, AGED 67. 
 
 This painter was born at Placentia, in 1691, with a moft happy genius to painting, 
 which he cultivated by ftudying at Rome, where he defigned every veftige of ancient 
 magnificence, the ruins of fuperb Roman edifices, cenotaphs, columns, baths, arches, 
 and obelilks, as alio fome of the moft entire buildings, the ornaments of modern Rome. 
 
 He ftudied the works of Ghifolfi with peculiar pleafure ; he formed his tafte, ftyle, and 
 manner, by the compofitions of that efteemed artift; and his ftrongeft ambition was to 
 imitate him ; fo that he foon became eminent in that ftyle, beyond all his cotemporaries. 
 His compofition is rich ; the truth of his perfpective is critically exact ; and his paintings 
 are univerfally efteemed, for the grandeur of the architecture, for the clearnefs of his 
 colouring, for the beautiful figures which he generally introduced, and alfo for the elegant 
 tafte with which he difpofed them. He always defigned them correctly, and fet them 
 off with fuitable attitudes and exprefiion. 
 
 However, this defcription of his merit muft be fuppofed to allude to his early and 
 prime performances ; for, in his latter time, his pictures were diftinguiftiable by a free 
 and broad touch, but they are feeble in their colouring and effect. At all times indeed he 
 was too apt to defign his figures rather too large for the architecture, which diminiihed 
 the grandeur of the moft magnificent parts of his compofition, and was quite contrary to 
 o the 
 
PAN 
 
 [ 479 J 
 
 PAR 
 
 the practice of Ghifolfi, whofe works muft perpetually afford a pleafing deception to the 
 eye, by the perfpective proportions obferved between the figures, buildings, and diftances. 
 
 At Rivoli, a pleafure-houfe belonging to the King of Sardinia, there are feveral of 
 Panini's paintings, which are views of that fine retreat and its environs. They are 
 beautifully coloured, well handled, and with a touch full of fpirit j though, in fome parts, 
 the yellow feems a little too predominant, and the lights are not always diftributed in 
 fuch a manner as to produce the moft ftriking effect. 
 
 Maria Helena PANZACCHIAr 
 
 Painted Hi/lory and Landfcape* 
 
 This paintrefs was born at Bologna, in 1668, of a noble family, and appeared to have 
 an extraordinary genius to paint. She learned defign under the direction of Emilio 
 Taruffi, and in a fhort fpace of time made an aftonifhing proficiency ; fo that, in the 
 compafs of a few years, fhe acquired great readinefs in compofition, corredtnefs of out- 
 line, and a lovely tint of colouring* 
 
 She alfo excelled in painting landfcapes ; and, by the beauty of her fituations and 
 diftances, allured and entertained the eye of every judicious beholder. The figures 
 which fhe inferted had abundance of grace } fhe defigned them with becoming attitudes, 
 and gave them a lively and natural expreflion. Her merit was inconteftably acknow- 
 ledged, and her works were exceedingly prized and coveted. 
 
 P O L U C C I O. Vid. Paolo da Mattel 
 
 John PARCELLES. 
 
 Painted Storms and Calms at Sea, 
 
 He was born at Leyden, in 1597, and became the difciple of Cornelius Vroom. His 
 manner of painting was but flow, as he finifhed his pictures with extreme neatnefs. At 
 firft he only lightly touched his defigns, till the whole compofition was completed j and 
 then he worked freely, though with an uncommon degree of care, giving the utmoft 
 tranfparence to hi? colours. 
 
 His general fubjects were fea-pieces ; either calms, which are clear and excellently 
 handled; or fea fhores, crowded with mariners, or with fifhers cafting. or drawing their 
 nets. In thofe every figure was touched with fpirit, and every object fhewed the genuine 
 character of truth and nature. But his chief excellence appeared, where he reprefented 
 ftorms attended with lightning, fhipwrecks, waves in the moft violent agitation, and 
 veffels in the utmoft diftrefs. Thofe he defcribed with all the force of real nature, and 
 enriched his fubjects with figures that were remarkably good, as well for their propriety 
 of action and character as for their expreflion. 
 
 Julius 
 
PAR 
 
 C 48° J 
 
 PAR 
 
 Jutius PARCELLES, called the Young. 
 Painted Sea-Pieces* 
 
 He was born at Leyerdorp, the fon of John Parcelles, and inftru&ed in the art of 
 painting by his father, whofe ftyle, touch, and manner of colouring he fo exactly imitated, 
 that his works are very frequently fuppofed to be the performances of his father, efpe- 
 cially as both artifts marked their pictures with the fame initial letters, J. P. 
 
 The paintings of Julius, however, are not equal to thofe of John; but they have 
 abundance of nature in the profpeds and the tints j his mores, and fand-hills, with the 
 fmall veffels lying near the edge of the water, are wonderfully well exprefled and well 
 defigned, 
 
 Juan de PAREJA. 
 Painted Portraits. 
 
 DIED 167O, AGED 60. 
 
 This artift was born in 1610, and rendered himfelf remarkable by difcovering a fine 
 genius to painting, and arriving at a great degree of excellence in it, from the moft low 
 and contemptible ftation in life. He was a Meftizo, which is a name given to thofe who 
 are born in the Weft Indies, of a father who is a Spaniard, and a mother, a native 
 Indian; and happening to become the flave of Diego Velafquez, a celebrated Spanifh 
 painter, he was folely employed in grinding the colours for his mafter. 
 
 But his genius urged him to the art fo ftrongly, that he fpent whole nights in drawing, 
 and denied himfelf the neceflary refreftiment of reft and fleep, endeavouring to imitate 
 Velafquez. Yet, notwithstanding his private affiduity to improve himfelf, he was under 
 perpetual apprehenfion of his being difcovered by his mafter ; becaufe he knew the pride 
 of that painter would make him account it a difgrace to the profeflion, to fee a performer 
 in his own way, of fo mean and fervilc a condition. However he proceeded in his ufual 
 method of practice, till he had made a confiderable proficiency ; and having obferved, that 
 the King of Spain, Philip IV. who often reforted to the apartments of Velafquez, always 
 ordered thofe pictures which were placed with the painted fide to the wall, to be turned 
 to his view for his amufement, Pareja fixed a picture of his own painting in that pofition, 
 which the King's curiofity caufed to be turned; and in that inftant Pareja fell on his 
 knees, and fupplicated the King to obtain his pardon from his mafter, for having pre- 
 fumed to pra<Slife painting without his approbation. 
 
 Philip, agreeably furprifed at the addrefs, and being alfo pleafed with the work, bid 
 Pareja reft contented, and told Velafquez, that the man who fhewed fuch a genius, and 
 pofleffed fuch talents, ought no longer to be a flave. Immediately Pareja was emanci- 
 pated ; yet he never quitted his mafter; and, even after the death of Velafquez, he ferved 
 
 » the 
 
PAR [ 481 ] PAR 
 
 the daughter of that painter with a degree of gratitude worthy of a perfon of much 
 nobler birth and better education. 
 
 He was wonderfully happy in painting portraits, which he executed fo exactly in the 
 tafte, ftyle, colouring, and penciling of his matter, that they could not (as it is reported) 
 be diftinguifhed from the works of Velafquez. 
 
 James P A R M E N T I E R. 
 
 Painted Hijlory and Portrait. 
 
 DIED I73O, AGED 72. 
 
 He was a native of France, born in 1658, and was nephew to Sebaftian Bourdon, 
 from whom he received the firft instructions in the art of painting. When his uncle 
 died, he went to England, and was employed at Montague-houfe by La Fofle, to lay his 
 dead colours, and likewife to aflift him in other parts as occafion required ; but after- 
 wards he refided for feveral years in Yorkfhire, where he painted hiftorical fubjects as 
 well as portraits. 
 
 An altar-piece in a church at Hull, and another in St. Peter's church at Leeds, repre- 
 jfenting Mofes receiving the Law, are of the hand of this artift. His beft work is on 
 the ftaircafe at Workfop ; and at the Painters Hall, in London, there is a picture prefented 
 by Parmentier to that company, of which the fubject is Diana and Endymion. 
 
 Francesco Mazzuoli, called PARMIGIANO. 
 
 Painted Hijlory and Portrait. 
 
 DIED 1540, AGED 36. 
 
 He was born at Parma, in 1504; and being deprived of his father while he was very 
 young, his uncles took care of his education. They were both painters ; and obferving 
 the ftrong tendency of their nephew to drawing, they took delight in teaching him defign, 
 and instructing him in the beft principles of the art ; though" he owed the excellence to 
 which he afterwards arrived, not to their precepts, but to the works of that inimitable 
 painter Raphael, which he carefully ftudied. 
 
 At the age of fixteen he gave fuch proofs of an elevated genius, as feemed aftonifhing 
 to the ableft judges ; and at the age of nineteen, he finimed feveral fine compofitions at 
 Parma, in frefco as well as in oil, which raifed his reputation to the higheft pitch. He 
 now began to be pofleffed with an eager defire to fee Rome ; and having communicated 
 his intention to his uncles, they complied with his propofal. They alfo advifed him to 
 take along with him fome of his own works, as they might affbrd him a proper intro- 
 duction to the acquaintance of the nobility, and the artifts at Rome ; and for that purpofe, 
 he painted three pictures, which were defigned with great fkill, and beautifully coloured. 
 
 P p p One 
 
PAR 
 
 C 482 J 
 
 PAR 
 
 One of them was his own portrait, which he painted on a wooden pannel, of a convex 
 form, in imitation of a convex mirror. The furface was fo wonderfully painted, that it 
 had all the appearance of real glafs ; and the portrait of the artift, as well as every part 
 of the furniture and windows of the chamber in which he was fuppofed to fit, were fo 
 artfully diminifhed, and fo happily imitated, that the whole appeared like bodies naturally 
 reflected from a glafly or polifhed furface, and with fo great truth, as to feem beyond 
 defcription, and almoft beyond belief. 
 
 While he was at Rome, he ftudied the antique ftatues, and the works of the befl 
 painters ; but particularly attached himfelf to the compofitions and ftyle of Raphael, and 
 Michael Angelo Buonaroti j and was made known to Pope Clement VII. who immedi- 
 ately gave him employment, expreiled the utmoft admiration of his performances, and 
 alfo loaded him with favours and rich prefents. In return, Parmigiana painted a Circum- 
 cifion, which he prefented to the Pope, who prized it as one of the moft capital works irt 
 his palace. That picture was not only excellent for the compofition, colouring, and 
 execution; but it was peculiarly remarkable for the introduction of three different 
 lights, without deftroying the harmony of the whole. The light diffufed on the principal 
 figure was from the irradiation of the Infant Jefus j the fecond was illuminated by a 
 torch carried by one who attended the facrifice ; the others were in the open air, enligh- 
 tened by the early dawn, which fhewed a lovely landfcape, diverfified with a number of 
 cottages and villas. 
 
 This mafter (like Protogenes when Rhodes was befieged by Demetrius) was fo intent 
 on his work, that when the Spaniards, in the year 1527, entered and pillaged Rome, he con- 
 tinued at his eafel, without attending to the danger of his fituation ; and when the enemy 
 entered his apartments, they were fo ftruck with the beauty of his paintings, and the 
 compofed conduit of the artift, that they retired without offering him the fmalleft injury; 
 though foon after he was robbed of a great part of what he poflefled. 
 
 He had a truly fine and admirable genius ; his invention was ready, and his tafte of 
 defign very learned; yet, there is rather too much of manner in it; but he had peculiar 
 talent in giving beauty, elegance, grace, and fweetnefs to his figures. He excelled in 
 portrait, as much as he did in hiftory ; his figures in both refpects are light and graceful 
 and the airs of his heads uncommonly lovely. He affe£fed to make the extremities of his 
 figures delicate, or rather lean; and the contraft of his attitudes, which mew the moft 
 beautiful parts, are fo judicious, as to give life and motion to his figures. His outline is 
 true and firm ; and the light, eafy flow of his draperies, add a beauty that is fcarcely to be 
 conceived. His carnations receive a remarkable luftre from the yellow and green 
 draperies near them, which he generally ufed ; and his boys, and angels, are fo exqui- 
 sitely defigned and executed, as to -appear truly angelical. 
 
 Some of his defigns he engraved, and fome he etched on copper: by many he is, 
 accounted the inventor of etching ; but inconteftably he is the firft who praclifed it in 
 
 Italy. 
 
t 483 J 
 
 P A ft. 
 
 Italy. It can never be fufRciently lamented by every lover of the polite arts, that a 
 painter pofleffed of fuch admirable talents, and who, from his own excellence, might have 
 derived as great an abundance of riches as of honour, fhould indifcreetly confume his 
 time, his fortune, and his health in alchemy, to difcover the philofopher's ftone j and by 
 his appropriating fo much of his time alfo to engrave and etch his defigns, he deprived 
 the world of many excellent works, which would have been a perpetual honour to him- 
 felf, and an invaluable treafure to all the admirers of the art of painting. 
 
 In the vaulted cielings of the two principal chapels in the church of St. John at 
 Parma, are ftill preferved fome capital performances of Parmigiano, which have great 
 force in the colouring, are compofed in a noble ftyle, defigned and painted in an exquifite 
 tafte, and executed through the whole with Angular freedom. And in the church of the 
 Dominicans, at Cremona, is a dead Chrift, attended by the Virgin overwhelmed with 
 forrow, which is an incomparable work. The principal figure is finely defigned, and the 
 character in the head of the Virgin, as well as the exprellion, is exceedingly beautiful. 
 Alfo at Houghton (the feat of the Earl of Orford) there is a very capital picture by 
 Parmigiano, reprefenting Chrift laid in the Sepulchre. 
 
 P ARMIGI ANINO. Vid. Jeronimo Mazzuoli, 
 
 DOMENI C O PARODI, 
 Painted Hijlory and Portrait* 
 
 DIED I74O. 
 
 He was born at Genoa, the fon of Giacomo Filippo Parodi, a very famous fculptor, 
 ■who obferving an uncommon vivacity in the lad, and a quicknefs of apprehenfion far 
 beyond his years, while he was yet very young, beftowed on him the beft education, and 
 had him inftructed, by the ableft mafters, in philofophy and human literature. But though 
 Domenico had a great delight in learning, yet his eargernefs to acquire the knowledge of 
 painting was ftill greater j and having received from his father fome inftructions in that 
 art, he went to Padua, to ftudy the beft principles of defign under the moft eminent 
 profeffors, and foon gave extraordinary evidences of his expeditious improvement. 
 
 He continued there for fome time, and then travelled to Rome, being determined to 
 gain all poflible additional knowledge ; and there, with inceffant application, ftudied the 
 works of the ancient and modern mafters of greateft renown, till he fo effectually 
 formed his tafte, and confirmed his pencil, that his productions were applauded by the 
 beft judges. Several of his pictures "being compared with thofe of other excellent artifts, 
 were allowed to be fuperior ; as they fhewed a finer underftanding, and were finifhed 
 with much more fpirit and delicacy. 
 
 His compofitions in hiftory had abundance of elegance, and were remarkably correct ir* 
 the defign. His tafte was grand j his colouring goodi his pencil free, and yet delicate; 
 
 P p p 2 his 
 
PAR C 484 J ? A 5 
 
 his draperies were in a noble ftylc, broad, eafy, and loofe J and his portraits were highly 
 efteemed for their lively and fpirited refemblance, as alfo for that air of dignity which he 
 diffufed through them all,, as well as for their relief and roundnefs. He acquired a 
 thorough fkill in the chiaro-fcuro ; and fome of his paintings, in imitation of bas-relief^ 
 were fo perfe&ly well performed, that almoft at the neareft approach it could fcarcely be 
 determined whether they were executed with a chifel or a pencil. Many grand altar- 
 pieces for churches and chapels in different parts of Italy were painted by Parodi, in, 
 frefco as well as in oil, with the greateft applaufe; and at Genoa he painted the portraits 
 of the Doge, and the moft illuftrious perfons, which added, to the fame, which he had 
 already obtained. 
 
 This mafter alfo excelled in ftatuary, and carved an admirable figure, in marble, of the 
 King of Portugal; he likewife carved feveral ftatues of the Royal Family and Nobility, 
 which were juftiy admired by all the artifts, and accounted fubjects worthy of bejn» 
 immortalized in the poems of the beft writers of his. time., 
 
 Joseph PARROCEL, called the Old. 
 Painted Battles. . 
 
 IllPn T704, AGED -56:" 
 
 He was born in Provence, in 1648, where , he learned the rudiments of the art, and 
 was tolerably fkilled in defign and colouring ; but not content with that inftruction which 
 he could receive in his own country, he travelled to Rome, where he placed himfelf as a 
 difciple with the famous Giacomo Cortefi, called Bourgognone. He chofe the fame fub- 
 jects as his mafter, and painted battles in the fame tafte and ftyle, which gained him o-reat 
 reputation; for, although his wor-ks could not ftand in competition with thofe of 
 Bourgognone, yet they had fo much merit in the compolition, fo much judgment ia 
 the defign, and fuch fpirit in the execution, as placed him on an equality with any other, 
 artift of his time. 
 
 When he quitted the fchool of Bourgognone he went to Venice, and fpent feveral 
 years in that city, ftudying the works of thofe artifts who were moft eminent for -colour- 
 ing; and the happy effect, of the obfervations he then made, was evidently feen in all 
 his future performances. Parrocel always made it his conftant rule to confult nature- 
 in every object he defigned; he worked with readinefs and eafej was curioufly careful 
 in the preparation of his colours; and that frefhnefs which appears in his paintings, is- 
 a lading evidence of his Angular fkill. In hrs battles every partis in motion; his figures 
 and horfes have attitudes that are natural, and* full of fire; and the variety of pamons are 
 fenfibly, and often feelingly, expreffed. . 
 
 But his genius was not entirely confined to thofe fubjecls, for he painted hiftory 
 and portrait with an equal degree of merit; and that picture which is in the church of 
 None Dane at Paris, reprefenting St. John in the Defertj may afford an indubitable 
 
 proo/ 
 
P A S- 
 
 C 485 3 
 
 P A 3 
 
 proof of his ability, in refpect of hiftorical compofition, as alfo of his agreeable manner 
 of colouring. He certainly had an excellent genius for compofition, and his tints had 
 an unufual ciearnefs ; his touch was free and clean j his defign was elegant j and the 
 happy diftribution of his lights produces a very pleafing effect. 
 
 Charles PARROCEL, called the Young, 
 Painted Battles. 
 
 DIED I729, AGED 52,. 
 
 He was born at Paris, in 1677, and was the fon and difciple of Jofeph Parrocel, who* 
 Having obferved a promifing genius in his fon, at a very early time of life, took every 
 prudent method for his inftruction; and, by the excellent precepts of fo able a director, 
 be fuccefsfully painted the fame fubjects as his father. 
 
 The ftyle of compofition, the manner of handling, and the tint of colouring, in the 
 works of the young and old Parrocel, were fo fimilar, that the performances of the 
 former are frequently miftaken, even by good judges, for the works of the latter. 
 
 There was alfo a nephew of Jofeph, named Ignatus Parrocel, who painted battle 
 pieces, whofe pictures have a ftrong refemblance to thofe of the old Parrocel. This 
 pointer died in the year 1722., 
 
 Giusep pi PASSE R I, or PASSARI. 
 
 Painted Hijiory and Portrait. 
 
 DIED 1714, AGED 60. 
 
 He was born at Rome, in 1654, and was at firft inftrudted in the art of painting by- 
 Giovanni Battifta PalTeri, his uncle ; but- as he foon difcovered the inability of his 
 preceptor, and perceived him to be unqualified to give him that degree of knowledge 
 which he coveted, he became the difciple of Carlo Maratti, being confident that under 
 him he mould learn that excellent tafte of deiign,- and that freedom of hand, which Carlo 
 knew how to communicate to all his difciples. And indeed, by his induftrious application 
 for fome time in that celebrated fchool, his improvement anfwered his expectation j and 
 he not only rendered himfelf fuperior to many of his companions who were lefs. ftudious, 
 but he equalled thofe who were accounted the belt. 
 
 Maratti, having obferved the great progrefs of his pupil, determined .to point out ta 
 him the moft certain method for his attaining to the perfection of his art; and, for that 
 purpofe, directed him to copy the moft curious .paintings of the beft artifts ; and then 
 comparing every copy with its original, he judicioully pointed out the moft beautiful 
 parts of each admirable original performance, in refpect to the drawing, defign, grace, 
 attitude, or exprefiion, to form the tafte of his difciple and eftablifh his judgment. 
 
 From- 
 
PAS 
 
 r 486 j 
 
 PAS 
 
 From To Angular and fb excellent a method of inftru&ion, Pafleri learned to compofe 
 fubje&s for himfelf, with elegance and dignity; his works were beheld with pleafure, 
 and received with univerfal applaufe. His ftyle of compofition was grand, his colouring 
 like that of his mafter Maratti, his invention was fruitful, and his expreflion natural and 
 agreeable. He was very defirous to try his ability in portrait-painting, and made the 
 experiment by the portrait of his father; which fucceeded even beyond his moft flattering 
 hopes^and afforded great fatisfa£lion to the principal Nobility at Rome. That, and fome 
 other of his compofitions, extended his reputation fo far, that he had abundance of employ- 
 ment in his native city, and from different parts of Italy, by commiffions; fo that moft of 
 the churches and palaces at Rome were decorated with his paintings. 
 
 He lived in fuch general efteem, that his houfe was frequented by perfons of the firft 
 rank for tafte and literature* not only for the entertainment they might derive from his 
 paintings, but alfo from his converfation, that was polite, ingenious, and edifying. 
 Towards the laker part of his life, he was fubject to a violent head-ache, which entirely 
 disqualified him for bufinefs; and at laft he was opprefled with the gout, afthma, and a 
 complication of diforders, which deprived the world of one of its greateft ornaments. 
 
 Bartolomeo PASSEROTTI. 
 
 Painted Portrait and Hljlory. 
 
 DIED I595. 
 
 He was born at Bologna, and at firft was a difciple of Jacopo Barozzi, called Vignola, 
 with whom he travelled to Rome, and improved his tafte of defign by ftudying the 
 antiques; but he afterwards became the difciple of Taddeo Zucchero, and never quitted 
 that mafter, till he was qualified to appear with credit in his profeflion. 
 
 He compofed hiftorical fubjedls readily, and in a good ftyle, particularly defigns taken 
 from facred hiftory, of which he painted many for the chapels of Bologna; yet his manner 
 was rather too expeditious, which frequently caufed him not fufficiently to attend to 
 truth and nature, and often to depart from both. But he devoted himfelf principally to 
 portrait-painting, in which he became remarkably eminent ; and was highly commended 
 for the bold relief of his figures, for the life and fpirit which he always gave them, and 
 for the gracefulnefs of their attitudes. 
 
 He founded a fchool of painting at Bologna, which produced a number of great mafters, 
 among whom were Vannius and Agoftino Caracci. 
 
 Tiburzio PASSEROTTI. 
 
 Painted Hijiory. 
 
 He was the fon and difciple of Bartolomeo, born at Bologna, in 1575, and painted in 
 the ftyle and manner of his father, being alfo very much admired for his compofitions. 
 
 2 But 
 
PAS 
 
 C 487 } 
 
 PAS 
 
 But he likewife was full as remarkable for his curious collection of rare and fcarce books, 
 medals, gems, cameo's, and uncommon natural productions, as he was for his merit in. 
 the art of painting. 
 
 Ventura PASSEROTTI. 
 
 Painted Portraits and Hi/lory, 
 
 He was born at Bologna, in 1586, the youngeft fon of Bartolomeo, from whom lie 
 learned the principles of defign and colouring ; but for his beft improvement he was 
 indebted to his elder brother Tiburzio. 
 
 His greateft deiight conufted in drawing, with a pen or a crayon any fubje&s which 
 occurred to his imagination; in which he ftudied to exprefs the proportions of the naked, 
 and the fwell of the mufcles, in the ftrong, or (as it is termed by artifts) the terrible 
 ftyle of Michael Angelo Buonaroti, which he always admired, and endeavoured to imitate* 
 But for the raoft part he painted portraits, with a very natural tone of colouring, and with 
 as great a degree of refemblance and relief as any of his cotemporaries* 
 
 PASSIGNANO. Vid. Cresti. 
 
 Lorenzo PASSINELLL 
 Painted Hi/lory. 
 
 * DIED I7OO, AGED 71* 
 
 He was born at Bologna, in 1629, and received his earlieft inftru&ions in paintiruj 
 from Simon Contarini, under whom his improvement was fo great, that he diftinguifhed 
 himfelf by corre£t,nefs of defign ; but having viftted Venice, and thoroughly confidered 
 the majeftic and profound ftyle of Paolo Veronefe, he changed his firft manner, which he 
 had pra&ifed with great fuccefs at the Court of Savoy, and ftudied to emulate the more 
 noble manner of the Venetian matter. 
 
 At his return to his own country, he was eagerly employed by all the Nobility, and 
 the principal ecclefiaftics at Bologna; for he painted hiftorical fubjecSts in a fmall as well 
 as in a large fize, from facred as well as profane writers; and his works were univerfally 
 admired. 
 
 In the Palazzo Ranuzzi at Bologna, there is an excellent painting by Paffinelli, repre- 
 fenting the Roman Charity; and in the Palazzo Zambeccari, in the fame city, is a grand 
 defign of the Martyrdom of St. Urfula and her Companions, which is extremely well 
 compofed, and very lovely in the colouring ^the heads are beautiful, and they have a great 
 deal of expreuion. 
 
 PASQUA- 
 
 * The Chronological Tables of the famous Painters, publifhed by Mr. Harms, at Brunfwick, are ma multitude of 
 articles extremely incorrect : but with regard to this painter the error is unpardonable ; for he fays Paflrnelli was born in 
 1629, and that he died in 1648, when he could have been only 19 years of age: whereas all writers agree, that he lived 
 to a great age 5 and, by the rooft authentic account, he died in 1700, aged 71, which makes a difference of fifty-two years. 
 
PAS 
 
 I 488 J 
 
 P A T 
 
 PAS QV ALIN'O. 
 
 ■Painted Converfations and Capriccio's* 
 
 DIED 17OO, AGED 59. 
 
 The real name of this painter was Pafquale Roffi Vicentino; he was born in 1641, 
 and, by the power of his own genius, became a- painter off great eminence. His ability 
 and knowledge in the art was derived folely from ftudying and colouring the fineft 
 productions of the Roman and Venetian fchoolsj his compofitions are not unlike thofe of 
 Titian, full of life, fpirited, and well defigned; and his pictures have confiderable grace, 
 with a manner of finifhing that was exceeding delicate. 
 
 P A T E L 
 
 Painted Landscape* 
 
 He was born in France ; but neither his age, nor the mafter under whom he ftudied, 
 aae afcertained by any of the authors that I have confulted. However, his works are 
 univerfally known, and very defervedly admired. In his own country he is called the 
 French Claude, for he fcems to have taken Claude Lorraine for his model, and in many 
 refpedts he has imitated that admirable mafter with great fuccefs. 
 
 The forms of his trees are elegant and loofe; his fcenery is rich, and his buildings and 
 other ornaments are defigned in a very pleafing tafte. His fkies are judicioufly adapted, 
 having always a very remarkable warmth; and although it cannot truly be faid, that he 
 equalled his model, yet it is no fmall degree of honour even to imitate him happily. The 
 breaking of his ground fliews fkill and judgment; his diftances are finely obferved; and 
 the antique buildings, vafes, monuments, and ruinous aqueducts, introduced in his 
 compofitions, give his pictures abundance of richnefs and elegant variety. His works 
 fufRciently mew that he ftudied nature with nice obfervation, and his choice was always 
 agreeable. In one refpect he was fuperior to Claude, for his figures are ufually defigned 
 in a delicate tafte, and drawn with correctnefs. His touch is light and firm, his colouring 
 generally clear and natural, and his fites are exceedingly pleafing. 
 
 Joachim PATENIER. 
 
 Painted Land/capes and Battles. 
 
 He was born at Dinant, about the year 1487, but learned the art of painting at 
 Antwerp, and was received as a member of the academy of painters in that city in 1515.' 
 His principal fubjects were landfcapes, which he painted in an excellent ftyle, with 
 charming diftances, and figures exquifitely touched and defigned. There appeared a 
 peculiar neatnefs in the leafing of his trees, and the trunks and branches of them had all 
 the freedom of nature. His works, even in'his life-time, were held in fuch high efteem, 
 that they were induftrioufly fought for,~and eagerly purchafed at great prices. 
 
 5 It 
 
PAT 
 
 C 489 J 
 
 P A U 
 
 It was much lamented, that notwithstanding his merit in his profeflion, and the 
 encouragement he received, he mould confume the largeft portion of his time in taverns, 
 and other kinds of diflipation; by which he not only impoverished himlelf, but alfo 
 deprived the world of fo many valuable productions as he might have finifhed. But it 
 was his invariable cuftom, never to take up the pencil, till want compelled him to ufe it. 
 
 He painted battles with extraordinary fpirit; his compofitions in that ftyle were filled 
 with a number of figures, and each of them was well deftgned, and finifhed with the utmoft 
 exactnefs. Sandrart mentions an admirable battle-piece of Patenier's painting, in the 
 pofleflion of Melchior Wyntgis at Middleburgh. When Albert Durer was at Antwerp, 
 the works of this artift afforded him fo much fatis faction, as he faw an uncommon degree 
 of merit in his performances, that he painted his portrait, in order to preferve the memory 
 of fo eminent a mafter. 
 
 John Baptist PATER, generally called PATER RE. 
 Painted Landfcapes and Converfations* 
 
 DIED I736, AGED 41. 
 
 He was born at Valenciennes, in 1695, and was the difciple of Anthony Watteau, 
 •under whofe direction he was placed when he was very young. He had a good tafte of 
 colouring j and when he painted views of particular buildings, or real fcenes after nature, 
 they were executed in a pleafing and mafterly manner. Yet he too much neglected the 
 ftudy of nature, and the correctnefs of defign ; confulting his immediate advantage, more 
 than the eftablifhment of his reputation : which manner of thinking and acting has 
 proved in the higheft degree pernicious to many ingenious artifts, whofe talents might 
 perhaps have raifed them to the top of their profeflion, if they had obferved a different 
 conduct. 
 
 He never arrived at the merit of his mafter, though he imitated his ftyle ; but there is 
 ibmewhat of fpirit in his compofitions, that renders them pleafing. 
 
 P A U D I T S. 
 
 Painted Portrait and Hijlory, 
 
 This artift is mentioned by Sandrart as a painter of great merit, but there is no account 
 of the time in which he flourifhed. He was born in the Lower Saxony, and became 
 a difciple of Rembrandt, where he fo much diftinguifhed himfelf, as to be ranked among 
 the beft performers in that fchool. On his quitting Rembrandt, he was for fome time 
 employed by the Bifhop of Freifingen ; he painted feveral hiftorical defigns, as well as 
 portraits for that Prince ; and fpent fome years in the fervice of the Duke of Bavaria, 
 where his works were held in great -eftimation. 
 
 While he refided at that Court, one Rofter, a painter, lived at Nuremberg ; who feems- 
 to have been envious of the reputation of Paudits, and propofed to paint a picture on any 
 
 Qj\ q fubject' 
 
PAU 
 
 r 490 1 
 
 P A U 
 
 fubject, in competition with him. Thofe artifts appear to have painted in a different 
 ityle : Rofter was moft confiderable for his high finifhing; the other, for force and freedom, 
 of pencil, in the manner of his mailer Rembrandt. 
 
 The fu-bject agreed on by both was, a wolf tearing a lamb. Paudits fhewed in his 
 work a great fuperiority in the defign, and alfo more truth, force, and expreffion ; which, 
 fecured to him the approbation of the beft judges: but the neatnefs with which the 
 wool of one animal, and the hairs of the other,, were iinifhed, with a competent tranfparence, 
 of colour, fo far prevailed with the majority of thofe who accounted themlelves connoiffeurs,, 
 that the preference was given to, the pi.cture painted by Rofter. And fuch injudicious, 
 determinations muft. ever be expected, when works which are the product., of genius and. 
 judgment happen to be fubmitted to the.cenfure of. thofe who want bothj becaufe fuch. 
 perfons are only guided in their opinions by caprice, fancy, or whim, and moft frequently 
 by an overweening conceit of their own tafte and difcernment. 
 
 A declaration fo unexpected by Paudits, depreffed and preyed upon his fpirits, and 
 affected his mind with fuch extreme violence, that he died in. afew days after, univerfally 
 pitied and regretted. 
 
 Horatius. PAULYN. 
 Painted Hiftory and Conversations. 
 
 This painter is fuppofed to have been born about the year 1643, and he refided at. 
 Amfterdam j but the matter under whom he ftudied the art of painting is not known. 
 
 He had a very lively imagination, he compofed readily, and defigned well \ but his greateft 
 excellence confifted in his colouring; for his pencil was fo exceedingly neat, and the tone, 
 of his colouring fo fweet and delicate, that it was capable of deluding any lover of the 
 art to admire what morality and modefty muft compel him to deteft. Too frequently 
 he proftituted.his art, to reprcfent fubjects that were indecent and obfcene, which leffened 
 him confiderably in the public efteem. 
 
 One of the fmall pictures of Paulyn, excellently finifhed, was valued at an hundred* 
 pounds ; though probably that exorbitant price was fixed on it, rather on account of its-, 
 immodefty, than for any intrinfic merit in the performance. 
 
 Isaac PAULYN. 
 Painted Portraits, 
 
 He was the difciple of Abraham Vanden Tempel; .and after he had perfected his ftudies, 
 with that mafter, he went to England, where he refided for feveral years, and found 
 fufficient encouragement and employment. But, in the year 1682, he retired from that 
 kingdom, and fettled at the Hague, where he painted the portraits of the principal perfons 
 in that city with very great approbation:. 5 
 
 PELLE- 
 
PEL 
 
 r 49* ] 
 
 PEL; 
 
 PELLEGRINO da Modena, 
 
 Painted Hi/lory. 
 
 DIED I538. 
 
 He was born at Modena, where he learned the art of painting, and in his own country 
 was confidered as an ingenious artiftj but, having heard many accounts of the aftonifhing 
 genius and performances of Raphael, he left his native city, and travelled to Rome, where 
 he was fo fortunate as to become the difciple of that inimitable matter. 
 
 At that time there was a great number of young perfons at Rome, who diligently 
 ftudied defign ; who had a generous emulation to excel each other, and endeavoured, by 
 intenfe application to that particular branch, to recommend themfelves to the countenance 
 and. favour of Raphael. Amongft thofe, Pellegrino diftinguifhed himfelf in a fuperior 
 degree, being fo induftrious, that he not only excelled in defign, but alfo painted in frefco 
 and in oil, in a very mafterly manner. Raphael foon obferved the abilities of his pupil ; 
 and when Pope Leo X. employed him to adorn the apartments of his palace, he appointed 
 Pellegrino as one of his afliftants, in the execution of his defigns ; and the difciple afforded 
 fuch proofs of his merit in that palace, that his mafter employed him in many other grand 
 compofitions. 
 
 Afterwards he finifhed feveral of his own original defigns, in the churches at Rome, 
 and particularly in the churches of St. Euftachius and St. James. But his moll capital 
 work, was the hiftory of the life of the latter, which he painted in frefco, in a chapel 
 belonging to the church of that Apoftle. In that compofition it was obferved, that he gave 
 his figures graceful airs and attitudes, in imitation of the ftyle and tafte of Raphael ; and 
 that work eftablifhed his reputation. On the death of his mafter he returned to Modena, 
 where he finifhed feveral fine defigns, among which, two are particularly noticed, that were 
 painted in oil, the Baptifm of Chrift by St. John, and the ftory of Cofmus and Damian. 
 
 The world was deprived of this celebrated painter by an unforefeen and unhappy 
 accident. He had a fon who happened to quarrel with one of his companions, and the 
 conteft endecH in the death of his antagonift. The fatal intelligence was expeditioufly 
 conveyed to Pellegrino, who ran out of his houfe to prevent his fon, if poffible, from 
 •falling into the hands of juftice; but he had not advanced far in the ftreet, till unfor- 
 tunately he was encountered by the parents of the youth who had been killed, and who 
 were in queft of the murderer; and as the fon of Pellegrino had efcaped out of their 
 power, they vented their fury on himfelf, and left him dead on the fpot, to the general 
 grief of all his fellow-citizens, as well as all the admirers of painting. 
 
 PELLEGRINO Tibaldi, da Bologna. 
 
 Painted Hijiory. 
 
 DIED 1592, AGED 70. 
 
 He was born at Bologna, in 1522, and (as fome authors teftify) was a difciple of 
 Daniel Ricciarelli da Volterra, a painter of the firft rank, with whom he proved himfelf 
 
 Q.qq2 poffefTed 
 
PEL 
 
 C 492 3 
 
 PEL 
 
 pofleffed of an extraordinary genius ; but Vafari fays, that having in his youth ftudied 
 defign, after the paintings which were in the refectory of St. Michael in Bofco at Bologna, 
 and likewife the works of fome other eminent artifts in that city, he went to Rome in the 
 year 1547, where he induftrioufly purfued his ftudies for three years, and was highly 
 commended for the force of his colouring, and the beauty of his defign. 
 
 The merit apparent in his compofitions, procured him the favour of Cardinal Poggio* 
 who employed him to embellifh the palace which he built at Rome; where Pellegrma 
 finifhed feveral elegant defigns, in a beautiful and graceful ftyle. By order of the fame 
 prelate, he painted one of the chapels at Loretto, which he executed equally to his own, 
 honour and to that of his patron. The fubjects he defigned in that chapel, were the 
 Nativity, the Prefentation of Chrift in the Temple, the Transfiguration, St. John preaching 
 in the Wildernefs, and a Decollation of St. John; thofc, and fome other fubjects, he 
 painted on ftucco, in an excellent tafte and manner, fo as to obtain univerfal approbation i 
 and he alfo painted many grand compofitions at Ancona.. 
 
 Yet, notwithftanding his excellence in the art of painting, after his having laboured for 
 feveral years with great honour in that profeflion, he difcontinued it to practife architecture* 
 military and civil, in both of which he was extremely well (killed ; either finding it lefs 
 laborious than painting, or at leaft a more ready means of becoming opulent. The 
 fortifying of Ancona and Ravenna, and building the palace of Cardinal Borromeo at Pavia* 
 found him fufficient employment ; and he fhewed the elegance of his tafte, as much in 
 architecture, as he had formerly done in his works of the pencil. 
 
 At Ancona there is an Exchange built from a defign of Tibaldi, which is adorned witli 
 paintings by his own hand, and decorated with ftatues carved alfo by himfelf. 
 
 PELLEGRINO da San Daniello. 
 
 Painted Hijlory. 
 
 He was born at San Daniello, a caftle about ten miles diftance from Udino, and became 
 the difciple of Giovanni Bellini. That mafter perceived fuch a promiiing genius in his 
 pupil, as feemed to afford a probability of his arriving at great perfection in his profeffion^ 
 as it afterwards happened : and on that account he gave him an appellation of diftinction, 
 by changing his real name, which was Martin ; and inftead of calling him Martin of 
 Udino, he called him Pellegrino da San Daniello, by which only he is now known. 
 
 At Udino he painted many fine compofitions, and particularly a defign which he 
 executed in oil, in the chapel of St. Giofeffb, which was excellently coloured. The fubject 
 reprefented Jofeph in an amiable attitude, and a meditating pofture ; the child Jefus was 
 near him, and St. John appeared in the habit of a Ihepherd, looking with a fixed and 
 expreffive attention on the infant Saviour. 
 
 That performance was exceedingly admired ; and from the abundant merit that appeared 
 in every part of it, and it being equal to the beft works of Bellini, it was concluded 
 by fome connoiffeurs of that time, that Pellegrino had painted it in concurrence with 
 Bellini. But the ftyle and handling of his other works, effectually- proved that no 
 2 pencil 
 
PEL 
 
 E 493 3 
 
 PEL 
 
 pencil but his own had been employed in that celebrated picture. He alfo painted at 
 Udino, a noble defign of Judith, with the head of Holophernes, and an altar-piece for 
 the church of Santa Maria, in which the head of the Virgin, and the heads of the other 
 figures, had an air that was remarkably graceful. 
 
 The Duke of Ferrara held him in the higheft efteem, not only for his merit in his 
 profeffion, but for his many other accomplifhments ; and while Pellegrino continued at 
 the Court of that Prince, he was loaded with favours, and received a multitude of 
 valuable prefents. He had a great genius, with a ready and fertile invention, and in 
 many refpedts was fuperior to his mafter Bellini. He painted in frefco and in oil, with 
 an equal degree of merit ; his tafte of defign was grand, the airs of his heads Were often 
 graceful, and his colouring was very agreeable. 
 
 Antonio PELLEGRINI, of Padua. 
 
 Painted Hi/lory* 
 
 DIED I74I, AGED 67. 
 
 He was born at Padua, in 1674, and was inftru&ed by a painter in that city, whofe 
 name was * Genga, an artift not very capable of affording him any profitable knowlege 
 of the art j however, having acquired, even under that incompetent director, fome notion 
 of defign and colouring, he went to Venice, to perfect himfelf farther in the true prin . 
 ciples of his profeffion. ^ 
 
 At Venice he had the good fortune to obtain the favour of Paolo Pagani, a very 
 eminent Milanefe- painter, who had recommended himfelf to the particular efteem of thofe 
 of the firft rank in that city, by the agreeablenefs of his manners, as well as by his 
 extraordinary fkill in the art of painting. By the inftructions which Pellegrini received 
 from that mafter, his improvement was conliderable s and by the intereft of Pagani, he 
 was made known to feveral noble, families, by whom he was employed, and particularly 
 by Angelo Cornaro. With that nobleman he cultivated a ftrict friendfhip, and executed 
 feveral defigns in frefco for him, which procured him applaufe, and occafioned his being 
 engaged by others for the fame kinds of works, and alfo for paintings in oiL 
 
 By his performances at Venice, he fo thoroughly eftablifhed his reputation, that he 
 met with a favourable reception in every Court of Europe, which he afterwards vifited. 
 By the Duke of Manchefter he was prevailed on to go with him to London, where he 
 painted a ftair-cafe for that nobleman; and for others of the Englifh Nobility he painted 
 different works in their falons and grand apartments ; but particularly for the Earl of 
 Burlington, and Sir Andrew Fontaine. While he refided in England^he finifhed a great 
 number of hiftorical defigns, of a middling fize, which are frequently to be feen; but his 
 
 pictures 
 
 * The author of the Mufeum Florentinum affirms, that Pellegrini was inftrufted by Genga; but ia the anecdotes off 
 Jpainting, it is laid he was the difciple of Sebaftian Ricci» 
 
P E N' 
 
 I 494 J 
 
 PEN 
 
 pictures bear no great price in thefe kingdoms, though they fliew a ready pencil, a very 
 free touch, and fometimes a good tafte of defign, becaufe the colouring is generally 
 cold} and one peculiar tint fo predominates through all his works, that they want force, 
 and are immediately, even at the firft fight, diftinguifhable from the paintings of other- 
 niafters. In the year 17 19 he was invited to the Court of France; and was afterwards 
 engaged by the Elector Palatine, and the Elector of Bavaria; till having at thofe Courts 
 added to his reputation, he returned to Venice, where he followed his profeffion with 
 credit and honour. 
 
 In the church of Capuchins, di Caftello, at Venice, one of the cielings is painted by 
 Pellegrini. The defign reprefents the Ifraelites gathering Manna in the defert; the 
 compofition is good, and it is well handled; but the colouring is weak and feeble, and, 
 by the effect, fcarce appears to be any thing more than a fketch. And in a church dedi- 
 cated to Mofesin ihe lame city, there is a painting by this matter, of which the fubject 
 is, the Brazen Serpent erected by Mofes in the Wildernefs. That is an excellent and 
 grand compofition, and is executed in a broad aud beautiful manner. It is well defigned, 
 and the landfcape part is particularly fine; yet the maffes of light in this, as in the other 
 works of Pellegrini, are fo weakly oppofed by proper ftiadows, that the whole produces 
 no ftrong effect, but appears flat and feeble. 
 
 Giovanni Francesco PENNI, called II Fattore, 
 tainted Hj/iory, Portrait, and Landfcape. 
 
 DIED 1528, AGED 40. 
 
 •He was born at Florence, in 1488, and, while he was very young, became the difciple 
 of Raphael, who foon obferved the promptnefs of his genius, the integrity and other 
 good qualities of his heart, and alfo his paflionate fondnefs for the art of painting; and 
 thofe qualifications recommended him fo ftrongly to the affection of his mafter, that he 
 not only took all poffible care of his inftruction, but alfo Intruded his domeftic concerns 
 entirely to his prudent management ; from whence he got the name of 11 Fattore (or 
 the Steward), which he retained ever after. 
 
 His manner of defigning was an imitation of Raphael, which he never altered; and, 
 in his finifhing and colouring, his mafter was his only model. The firft work in which 
 he was employed by Raphael, was in the Pope's palace at Rome, where Giovanni da 
 Udino, Pierino del Vaga, and other admirable artifts, were affociated with him. There 
 he exerted his great talents, there he difplayed that excellence of tafte, which he had 
 imbibed from his inimitable director, and fhewed fuch grace and execution as were 
 worthy of that fchool in which he was formed. 
 
 The genius of Penni was univerfal ; but his greateft pleafure was in painting land- 
 scapes and buildings. He' was an excellent defigner, and coloured extremely well in oil, 
 diftemper, and frefco. He painted portraits in an exquifite ftyle, and had fuch happy 
 
 natural 
 
r 495 I 
 
 ?ER 
 
 natural talents, as enabled him with eafe to difcover all that was curious or defirable in 
 the art he profelfed. By being poflefled" of fuch fuperior powers, he proved a very ufeful 
 affiftant to Raphael, and painted a great part of the cartons for the tapeftries of the Pope's 
 chapel, and the confiftory ; fo that his mafter conceived a degree of affection for him, far, 
 furpaffing what he felt for any other of his difciples ; and, at his death, left him heir to his 
 fortune, in partnerfhip with Julio Romano.> 
 
 Afcer the death of his mafter, he painted many pictures at Rome, of his own defign, 
 and particularly in the palace of Chigi, with fuch refcmblance of the ftyle, pencil,, 
 colouring, and grace of Raphael, that they might not undefervedly have been imputed 
 to that illuftrious painter. 
 
 Penni, in conjunction with Julio and Pierino del Vaga, finiftied the celebrated defigns. 
 of the battles of Conftantine, and feveral others which had been left imperfect by 
 Raphael. But having fome difpute about a copy of the Transfiguration, which the Pope 
 intended for the King of France, they feparated. Julio engaged himfelf with the 
 Marquis of Mantua; and Penni went to Naples, to enter into the fervice of the Marquis 
 del Vafto; but the air of that country difagreeing with his conftitution, he died very 
 fpon after his arrival in that city. 
 
 Luca PENNI. 
 
 Painted Hijlory. 
 
 He was born at Florence, and was the brother of Giovanni Francefco Penni. As he 
 had a clofe connexion with Pierino del Vaga, who had married his filler, he worked with 
 that mafter for fome years at Genoa, Lucca, and other cities of Italy, with great credit. 
 Afterwards he went to England, and was employed by King Henry VIII. for whom 
 he painted feveral defigns ; and was alfo engaged by fome of the merchants of London ; 
 but at laft he almoft entirely quitted the pencil, devoting all his time and. application 
 to engraving. 
 
 Santa PERAND'A. 
 Painted Hiftory. 
 
 DIED 1538, AGED 72* 
 
 He was born at Venice, in 1466, and in that city learned the principles of the art of 
 painting; but he went to Rome, and continued 'there for fome years, ftudying and 
 defigningthe antique ftatues, and the beft paintings of the modern mafters. By that" 
 method of practice, having perfected his tafte of defign, he returned to Venice; and 
 being then better qualified to obferve the wonderful effect , of the works of Titian, 
 Tintoretto, and Paolo Veronefe, he carefully ftudied their ftyle of colouring, and gra- 
 dually became as accomplifhed in that branch of the art, as. he had before rendered 
 himfelf confiderable in defign. 
 
 He 
 
PER 
 
 [ 49& J 
 
 He finifhed fome noble compofitions in the palace of the Doge ; and for the Princes of 
 Mirandola and Modena painted many fine defigns, which were generally admired. He 
 handled his pictures with abundance of care and delicacy; and yet, by a judicious manner 
 of managing his tints, he gave them a great deal of force and good relief. 
 
 Francis PERRIER. 
 
 Painted Hijiory and Landscape. 
 DIED 1650, AGED 60. 
 
 He was born at Mafcon, in Burgundy, in 1590, and had a good genius for painting.' 
 Having quitted fhis own country to improve his knowledge in the art, he travelled 
 through moft parts of Italy, and at laft arrived at Rome ; where he examined the works 
 of the ableft artifts, and fixed on Lanfranc as his model for imitation ; the paintings of 
 that mafter feeming to pleafe his imagination and judgment, preferably to all others. 
 
 During his continuance at Rome, he acquired a good tafte, an eafy manner of 
 defigning, and tolerable correctnefs ; but he had very little knowledge of perfpective ; 
 his colouring is always too black, and the airs of his heads want grace and elegance. 
 However, he etched, after his own drawings, an hundred of the moft celebrated antiques, 
 and fome of the works of Raphael, with a great deal of fpirit, though in fome parts 
 not quite as correctly as could be wiftied. 
 
 Pietro PERUGINO. 
 Painted Hiftory. 
 
 DIED IS24, AGED 78. 
 
 This mafter was born at Perufia, in 1446, where his parents lived in very low cir- 
 cumftances ; and they placed him with a painter, who, though no great proficient in the 
 art, had difcretion enough to animate his pupil with an eager defire to obtain knowledge. 
 Pietro applied himfelf, with fingular patience and induftry, to pradtife what appeared 
 conducive to his advantage.; he fpent not only all the day, but the greateft part of the 
 night, in ftudy, and at the fame time ftruggled with fevere hardfhips ; being obliged for 
 feveral months to have no other bed to lie on than a large cheft. Yet his laborious per- 
 feverance in drawing and defigning, qualified him to improve more readily under a fuperior 
 mafter. 
 
 At that period of time the finer arts were cultivated, and flourifhed eminently at 
 Florence ; which induced Perugino to feek for inftruclion in that city, and he placed 
 himfelf as a difciple with Andrea Verocchio. Under that famous artift his proficiency 
 was remarkably great; and in a lhort time he was enabled to appear with credit in his 
 profefiion. The firft work that raifed his reputation, was a picture of St. Jerom looking 
 
 with 
 
PER 
 
 C 497 3 
 
 P E 
 
 •with a ftedfaft attention on a Crucifix. The figure of the Saint appeared fo mortified, 
 fo emaciated, and yet fo natural, as he had defigned it after a living model, that the 
 work was applauded in the higheft terms; and in a few years his fame was fo fpread 
 abroad, that his paintings were not only difperfed through all Italy, but lent alfo to Spain, 
 France, and other countries of Europe. 
 
 He was employed to paint a grand altar-piece for the monaftery of St. Clara at 
 Florence, of which the fubject was a dead Chrift; and he introduced a number of figures 
 in the defign. The colouring was truly beautiful, the heads of the aged perfons had a 
 graceful turn, and the air of the Virgin was eminently diftinguifhed, as well by the 
 dignity of character, as the peculiar expreflion of forrow. He alfo introduced alandfcape 
 in one part of the defign, which (making a reafonable allowance for that early age of 
 painting) was at that time accounted admirable ; and the whole compofition was efteemed, 
 by the beft artifts and judges, to be uncommonly excellent. A Florentine merchant 
 offered treble the fum that had been paid for it ; but the propofal was rejected, becatife 
 Perugino declared that he was incapable of finilhing another fo well. 
 
 Vafari recites an incident in the life of this matter, which, as I find it mentioned bj 
 moil of the fubfequent writers on this fubject, cannot well be omitted. The Monks ©f 
 a monaftery at Florence had engaged Perugino to paint, in frefco, a piece of facred 
 hiftory in their chapel ; and the Prior, who had agreed to fupply the ultra-marine for the 
 work, being of a fufpicious difpofition, always attended while it was ufed, left fome of 
 it mould be embezzled by the artift. 
 
 When Perugino perceived that the Prior's conftant infpection of the work was only 
 occafioned by his diftrufting the honefty of thofe employed by him, he took care to place 
 a pot of water near him, in which he often dipped his pencil, after he had loaded it with 
 ultra-marine ; and the colour, by its weight, inftantly was precipitated to the bottom. 
 The Prior, obferving the rapid confumption of his rich colour, paflionately exprefled his 
 aftonifhment; but Perugino defired him, neither to torment his own mind, nor indulge a 
 difhonourable opinion of artifts, who generally acted upon principles of honour ; and 
 then, pouring off the water gently, he reftored to him the ultra-marine which had fub- 
 fided ; only reminding the Prior, that, notwithftanding all his fufpicious fagacity, he might 
 be impofed on, if the artifts he employed were lefs actuated by motives of honour, than 
 by the fear of detection. 
 
 Sixtus IV. engaged him to paint feveral defigns in his chapel, by which he gained 
 great reputation ; but, at his return to Florence, where Mich. Angel. Buonaroti was at 
 that time in the higheft efteem, he quarrelled with that great man, from an avaricious 
 difpofition, and was fo feverely fatirized by the poets of that city, that he was conftrained 
 to quit Florence, and retire to his native city Perufia. 
 
 This mafter had acquired from Verocchio, the habit of defiging his heads with a 
 graceful air, and particularly thofe of his female figures. His pencil is light, and he 
 finifhed his pictures highly ; but his manner was dry and ftifF, and his outline very often 
 
 Krr had 
 
PER 
 
 [ 498 1 
 
 PER 
 
 had great incorrectnefs. His higheft honour confifted in his having been the inftructor of 
 the inimitable Raphael Sanzio, who, with his father Giovanni Sanzio, afiifted Perugino 
 in a great number of his works. 
 
 He was not more memorable for his paintings, than he was infamous for his atheiftical 
 and avaricious principles j and having accuftomed himfelf, after he grew extremely rich, 
 to carry always along with him a box, in which he preferved a quantity of gold, the 
 profpect. of fuch a treafure induced a villain to rob him of it 3 and although, by the 
 activity of his friends, the greateft part of it was recovered, yet the vexation he 
 endured, was thought to have been the principal caufe of his death. 
 
 The moft capital work of Perugino, in oil colour, is in the church of St. Peter at 
 Perufia. It is an altar-piece, of which the fubject. is, the Afcenfion of Chrift, with the 
 difciples in different attitudes, directing their eyes up to Heaven after their Lord. The 
 defign is excellent, and the whole is well executed. And in a chapel belonging to the 
 church of St. Giovanni in Monte, there is a picture of the Virgin attended by feveral 
 Saints, which is efteemed one of the beft performances of Perugino. In many refpects 
 it has abundance of merit j but it muft be confefTed that the compofition is very 
 indifferent. 
 
 Petruccio PERUGINO. Vid. Montanini. 
 
 Baldassare PERUZZI. 
 Painted Hijlory and Perfpeftive Architecture* 
 
 DIED I536, AGED 55. 
 
 This painter is faid to have been born at Siena j but a moft authentic * writer on this 
 fubject alTerts, that Antonio Peruzzi, the father of this artift, was a rich citizen of 
 Florence, who, to avoid the miferies of a civil war, retired from that city to Volterra, 
 where BaldafTare was born, in 1481 ; and in a few years after he went to fettle at Siena, 
 where he continued during the remainder of his life, which afforded fufficient caufe to 
 conjecture that his children were born there, and not at Volterra. 
 
 BaldafTare, who early fhewed a lively genius to painting, learned defign from an 
 eminent goldfmith of Siena, and purfued his ftudies by the inftruction of thofe who 
 were accounted moft ingenious in the profeffion of painting; till having gained a compe- 
 tent degree of knowledge, he applied himfelf, with incredible diligence, to practife after 
 the works of the moft celebrated matters, and imitated them with fo much exactnefs and 
 truth, as feemed wonderful to the moft able connoiffeurs of that time. From Siena he 
 went to Rome, where he was employed by Pope Alexander VI. and in the palace of that 
 Pontif, as alfo in feveral chapels and convents, he painted many grand defigns in frefco, 
 which were commended for their grace and elegance of ftyle. His genius inclined him 
 
 particularly 
 
 * Vafari, 
 
P E S 
 
 C 499 ] 
 
 P E S 
 
 particularly to paint perfpe&ive and architecture ; and as he understood the eflential 
 principles of the chiaro-fcuro in a degree far fuperior to any of his cotemporaries, he 
 managed it in fuch a manner, that he produced furprifing effects. His ufual fubjects 
 were views of ftreets, palaces, corridores, portico's, and the infides of magnificent 
 apartments, in which he reprefented every cornice, frize, bas-relief, or fuitable orna- 
 ment j and, by a judicious distribution of his lights and fhadows, gave them a roundnefs 
 and projection, as natural, and as striking, as if they were real. 
 
 It is not poffible to give a nobler testimony of the powerful effect of this matter's 
 painting, than to fay, it furprifed and pleafed even Titian; for, when that famous artiffc 
 viewed fome of the perfpective works of Peruzzi, he was lb deceived, that no arguments 
 could perfuade him to believe that any of the objects he faw were produced by the 
 pencil, till he at laft changed his point of view, and then he exprefTed a much greater 
 degree of aftoniihment, at the beauty and artifice of the performance, and at the exqui- 
 fite deception it created. He excelled in painting fcenes for theatres, in which fubjects 
 he introduced, with extraordinary tafte and judgment, all thofe decorations peculiar to 
 the ftage, and he is accounted the firft who practifed that style of painting. 
 
 He studied architecture, and became very eminent in it; having received fome instruc- 
 tions from Bramante, the friend of Raphael. He wrote a treatife on the antiquities of 
 Rome, and a commentary on Vitruvius ; but unhappily he died before they were 
 publifhed, being poifoned by fome perfons who were envious of his reputation and of 
 his talents. 
 
 Pesello PESELLI. 
 
 Painted Hi/lory and Animals, 
 
 DIED I517, AGED 77. 
 
 He was born at Florence, about the year 1440, and became a difciple of Andrea del 
 Caftagno, whofe ftyle and manner he always imitated. He was particularly fond of 
 painting animals, ftudying every fpecies after nature with fingular care ; and in order to 
 have thofe objects ready on any occafion, to paint them after the life with greater exact- 
 nefs, he conftantly preferved a variety of animals under his own roof, to ferve him as 
 models, and reprefented them with a fpirit, life, truth, and nature, far fuperior to any of 
 the artifts of his time. 
 
 Till he was thirty years of age he continued with Caftagno, and by that time he was 
 considered as a very eminent mafter. He painted hiftorical fubjects as well as animals; he 
 worked in frefco as well as in -oil ; and finished feveral fine defigns in the chapels and 
 palaces at Florence, which were beheld with approbation. But he obtained uncommon 
 • applaufe for one compofition, which was, the Wife Men offering to Chrift, gold, and 
 frankincenfe, and myrrh. His merit in his profeffion procured him efteem, and he was 
 beloved by all his fellow-citizens, for his amiable temper and difpofition. 
 
 R r r 2 Gerrard 
 
C 5°o 3 
 
 PET 
 
 Gerhard PETERS. 
 
 Painted Converjations, Landscapes) and Portraits in fmall. 
 
 He was born at Amfterdam, about the year 1580, and at firft ftudied the art of pair.t* 
 jng under Jacques Lenards, who painted on glafs ; but afterwards he was inftructed Dy 
 Cornelius Van Haerlem, being the firft, and alfo the beft difciple of that mafter. 
 
 No artift in the Netherlands was equal to him for deiigning the naked, or for giving 
 his figures a certain air of elegance. He fpent fome years at Rome ; and when he found 
 himfelf fufficiently improved, he returned to his native city, where he had conftant 
 employment, for converfations, landfcapes, and portraits in a fmall fize, which he finifhed 
 highly, and with extraordinary truth and nature. Govaerts, who proved an excellent 
 'andfcape-painter, was the difciple of this mafter.. 
 
 Bon aventure PETERS. 
 Painted Sea-pieces, and particularly Storms* 
 DIED 1652, AGED 38. 
 
 He was born at Antwerp, in 1614, and became one of the moft eminent painters in 
 the Low Countries. The fubje&s he delighted to. reprefent, were ftorms at fea; in 
 Which he defcribed, in a lively, natural, and pathetic manner, every circumftance that 
 could fill. the imagination with pity and terror. The raging of the waves, the impending 
 tempeft, the veflels foundering, or dafhed in pieces againft rocks, the mariners perifhing 
 in the deep, or feeming to dread a more lingering death on. a defert fliore, are expreffed 
 by his pencil with the utmoft truth, nature, and probability. But, although his general 
 iubje&s were of that kind, yet he painted calms with an equal degree of merit, and 
 likewife profpects of towns and caftles adjoining to the fea. 
 
 His pencil is light ; his touch neat, and full of fpirit j his colouring exceedingly 
 tranfparent ; and his water, whether he defcribes it agitated or ftill, has an abundance of 
 truth and delicacy. His pictures, however, are not equally good, nor equally valuable; 
 for in fome the figures are extremely well defigned, and exquifitely finifhed; and in 
 others, the colouring of the whole is rather too light, and the draperies of the figures 
 are fometimes interfperfed with tints which do not harmonize with others. But his beft 
 Works have extraordinary merit, and muft always be very eftimable. 
 
 John P E T E R S, 
 
 Painted Sea-Pieces &nd Sea-Shores. 
 
 This painter was brother to Bonaventure Peters, and born at Antwerp, in 1625. He 
 fainted the fame fubjects for which his brother was fo defervedly famous; and many of 
 
 the 
 
PET 
 
 t Soi J 
 
 PET 
 
 the works of John pafs for the works of Bonaventure, being as finely touched, as well 
 coloured, as tranfparent, and adorned with excellent figures. 
 
 He frequently painted fca-fights, which were much admired for the goodnefs of the 
 defign, as well as for the clearnefs of the colouring; and he alfo painted views of villages, 
 towns, and fortified cities on the banks of rivers, which he defigned. after nature, gene- 
 rally making an agreeable choice, and finifhing them with remarkable neatnefs. 
 
 Francis Lucasz PETERS. 
 Painted Landfcape, 
 
 DIED 1654, AGED 48. 
 
 Me was born at Mechlin, in 1606, and received his firft v inftrudtion from his father;, 
 but afterwards he was placed as a difciple with Gerard Segers. 
 
 His genius inclined him principally to paint landicapes with fmall figures, which he 
 executed with great correctnefs, and touched with exceeding delicacy. . The beauty and 
 merit of his paintings recommended him to the favour of the Arch-Duke Leopold, who 
 retained him in his fervice for many years, and always held him in the higheft efteem; 
 and as that Prince engrofled the greateft part of his time and his labours, the pictures of 
 this artift are very fcarce, and are rarely to be purchafed. 
 
 John PETITOT the Old. 
 Painted Portraiti in Enamel. . 
 
 DIED 169I, AGED 84. 
 
 This memorable artift was born at Geneva, in 1607; and having a peculiar genius to 
 miniature-painting, he ftudied the art of enameling with inexpreflible application, and at 
 laft arrived at fuch a degree of perfection, that he may juftly be accounted almoft. 
 inimitable. There is not only a neatnefs of handling in all his works, but a grace and 
 expreflion which can never be fufficiently admired, and perhaps will never be excelled. Many 
 of his portraits have been accounted equal to Vandyck; and it was thought that Petitot.., 
 was particularly directed by that admirable mafter, in thofe portraits which he painted 
 after the originals of Vandyck; becaufe it is obferved that the beft performances of - 
 Petitot, are thofe which are after that mafter. He was wonderfully patient in finiftiing 
 his works, and had the judgment and Ikill to conceal the labour which the management 
 of his colours peculiarly required. 
 
 It is afTerted by an ingenious French writer, that Petitot, and Bordier his afHftant, 
 derived the curious part of their knowledge of the moft beautiful and durable colours 
 proper for enamel, from Sir Theodore Mayerne, at London. That great phyfician was 
 uncommonly fkilled in chemiftry, and generoufly communicated the fecrets he had 
 difcovered to thofe painters, who improved themfelves by continual experiments of their . 
 own, till at laft they brought their colours to the utmoft perfection.. 
 
 5 Petitot ; 
 
PET 
 
 T 502 ] 
 
 P E U 
 
 Petitot was, by the recommendation of Sir Theodore, made known to King Charles'I. 
 -and had the honour to paint the portraits of that Monarch, and the whole Royal Family. 
 He continued in England till Charles was brought to the fcaffold, and in the year 1649 
 .returned to Paris, where he was highly favoured by Lewis XIV. and by his admirable 
 •works acquired an ample fortune. But on account of the revocation of the edicTt of 
 Nantes, he with great difficulty, and not without fome perfecution from the Bifhop of 
 Meaux, obtained permiflion to retire to Geneva, having declared himfelf a Proteftant ; and 
 after a few years refidence in that city, he fettled at Veray, in the canton of Berne, where 
 he fpent the remainder of his days in eafe and affluence, as alfo in univerfal efteem. 
 
 The ufual price he received for a portrait was thirty piftoles ; and for feveral years 
 before his death, his price was increafed to forty. However, he only painted the heads 
 ,2nd hands of his figures; for the hair, the grounds, and the draperies, were executed by 
 Bordier, who was brother-in-law to Petitot. And it may appear fomewhat extraordinary, 
 •that they aflociated and laboured together for fifty years, and in that great length of time 
 they never had the fmalleft conteft or mifunderftanding. 
 
 The colouring of Petitot is extremely foft and lively, and it is fo artfully managed, 
 .that it can never change; which circumftance muft always give his works a fuperior 
 ; value. He generally painted on plates of gold or filver, and very rarely on copper. He 
 had a fon, 
 
 .PETIT O T, called the Young, 
 
 •to whom he communicated all his knowledge, which he had obtained by many years of 
 experiences and that fon, by copying the works of his father, and on all occafions ufing 
 them as his models, foon gained a confiderable reputation. He -fettled afterwards in 
 ,Lcmdon, where he followed his profeflion with the utmoft fuccefs and credit; and feveral 
 ~of the portraits which were painted by him, are now fhewn as the work of the Old 
 Petitot, although to a judicious eye they appear far inferior. 
 
 Peter PEUTEMAN. 
 
 Painted Still Life. 
 
 DIED 1692, AGED 42. 
 
 He was born at Rotterdam, in 1650, and was a good painter of inanimate obj eels ; 
 but the moft memorable particular relative to this artift, was that incident which occa- 
 fioned hi death. 
 
 He was requefted to paint an emblematical picture of mortality, reprefenting human 
 ' ikulls and bones, furrounded with rich gems and mufical inftruments, to exprefs the 
 ,vanity of this world's pleafures, amufements, or pofleffions ; and that he might imitate 
 nature with the greater exadtnefs, he went into an anatomy-room, where feveral fkeletons 
 Jiung by wires from the ceiling, and bones, Ikulls, &c. Jay fcattered about, and imme- 
 diately prepared to make his defigns, 
 
 While 
 
pie r 503 1 pie 
 
 - While he was thus employed, either by fatigue, or by intenfe ftudy, infenfibly he fell 
 afleep, but was fuddenly roufed by a fhock of an earthquake which happened at that inftant, 
 on the J 8th of September, 1692. The moment he awoke, he obferved the fkeletons 
 move about as they were fhaken in different directions, and the loofe fkulls roll from 
 one fide of the room to the other; and being totally ignorant of the caufe, he was 
 (truck with fuch a horror, that he threw himfelf down flairs, and tumbled into the ftreet, 
 half dead. His friends took all poffible pains to efface the impreffion made on his mind 
 by that unlucky event, and acquainted him with the real caufe of the agitation of the 
 fkeletons; yet the tranfaction ftill affected his fpirits in fo violent a manner, that it brought 
 on a diforder which in a very fhort time ended his days. 
 
 His general fubjects were either allegorical or emblematical allufions to the fhortnefs' 
 and mifery of human life. 
 
 Christopher PIERSON. 
 Painted Hiftory, Portraits, and Implements for Hunting* - 
 
 DIED I714, AGED 83. 
 
 He was born at the Hague, in 1631, and ftudied under Bartholomew Meyburg, with 
 whom he travelled to Germany j and, in his return, happening to vifit the Swedim camp,, 
 he was engaged by General Wrangel to paint his portrait, and the portraits of the prin- 
 cipal officers of the army. Thofe performances were fo much admired for the refem- 
 blance, the clearnefs of colouring, the relief, and neatnefs of penciling, that the General 
 endeavoured to prevail on him to go to the Court of Sweden, where he was aftured of 
 being appointed principal painter; but he declined that honour, out of a defire to return 
 to his own country. 
 
 For fome years he employed himfelf in painting hiftorical fubjects and portraits, and 
 found a conftant demand for his works at Gouda, fo as to acquire both reputation and 
 riches; but having obferved that the pictures of Leemens, which reprefented the utenfils 
 ufed in hunting, and other rural amufements, fuch as guns, nets, bird-calls, pouches, 
 powder-horns, &c. were exceedingly admired, and brought good prices, he applied 
 himfelf entirely to that manner of painting with fuch fuccefs, that he has never been 
 equalled by any other mafter. Thofe fubjects he ufually painted on a white ground, and 
 gave them fo juft a degree of light and lhadow, that every object feemed to project from 
 the canvafs. 
 
 This mafter had conftantly accuftomed himfelf to ftudy after nature, and in hiftorical 
 compofition fhewed a good tafte; his colouring was agreeable and very natural, his 
 pencil delicate, and he grouped his objects of ftill life with fingular judgment. Undoubtedly 
 thofe objects were but of a low rank, yet they had abundance of merit for their exact refem- 
 blance to nature, and for that ftriking effect produced by his maffes of light and fhadow. 
 
 It was obferved, that the latter works of Pierfon were much fuperior to thofe of his " 
 earlier time} and that he continued to paint even till the laft year of a very long life: 
 2 nor> ' 
 
PIE I 504 J PIE 
 
 nor, at fo advanced an age, was there the fmalleft perceptible difference in the fpirit of 
 his works. 
 
 .PIETRO, or PERINO del Vaga. 
 
 Painted Hijlory and Grotefque. 
 
 DIED I547, AGE » 37* 
 
 He was born at a village in Tufcany, near Florence, in 1500, of parents who were 
 extremely poor; and his mother dying of the plague when he was only two months old, 
 he was reared by the milk of a goat. His original name was Pietro Buonaccorfi ; but 
 being called Perino in his infancy, he was ever after diftinguifhed by that appellation. 
 
 While he was yet very young he went to Florence, and happened to be noticed by one 
 Andrea de Ceri; who being exceedingly pleafed with the countenance and vivacity of 
 Perino, which feemed to promife fomewhat above his prefent condition, took him into 
 his houfe, with a refolution to provide for him. Andrea was but an indifferent artift, 
 being accuflomed to paint little waxen figures, which he fold in his lhop, from which 
 circumftance he was nick-named De Ceri; but his houfe was frequented by a number 
 of the young Florentine painters. And when Andrea obferved by fome attempts of 
 Perino, that he had a genius fuperior to his years, he procured him fome inftructions from 
 a youth named Ridolfo, a fon of Domenico Ghirlandaio, who was remarkably expert at 
 defigning, till, by incefTant practice, Perino not only far furpaffed his inftructor, but alfo 
 excelled all the other young artifts who ufed to frequent the houfe of Andrea. Then he 
 began to ftudy after the works of Michael Angelo Buonaroti, and defifted not from his 
 ardent purfuit after knowledge in the art, till he arrived at a high degree of excellence. 
 
 At that time a painter of confiderable repute, named Vaga, lived at Florence, who, 
 being much pleafed with the promifing talents of Perino, took him along with him to 
 Rome, giving him alfo the heft directions for his improvement j and when the urgency 
 of his affairs recalled him to Florence, he recommended Perino to all his acquaintance, 
 and, with as much affection as if he had been his own fon, requefted them to counte- 
 nance and favour him in his ftudies; from which incident he was ever after called Perino 
 del Vaga. At Rome he was in the molt neceffitous circumftances, but his love to the 
 art enabled him to contend with every difficulty, and every kind of diftrefs ; fo that he 
 prudently devoted one half of the week to work for the picture-merchants, in order to 
 procure fubfiftence, while he fpent the remainder in intenfe practice to improve himfelf 
 in every branch of his profeflion. 
 
 He ftudied after the antique ftatues, he fearched after the beautiful baffo-relievos and 
 ornaments among the ruins of the ancient palaces, temples, theatres, and baths ; he 
 ftudied perfpective and anatomy, and particularly the infertion of the mufcles, as well as 
 the fwell and depreffion of each, occafioned by the various motions and pofitions of the 
 members of the human body; nor did he difcontinue that practice till he furpaffed all the 
 young artifts in the fineft and moft difficult parts of the art; and defigned the naked 
 
 with 
 
P I E 
 
 P "E 
 
 with greater correctnefs and elegance than many of thofe who were accounted confiderable 
 matters. 
 
 Thofe accomplifliments introduced him to the efteem of Julio Romano and Francefco 
 Penni ; and by their defcription of his merit he was made known to Raphael, who prized 
 his talents exceedingly, and afterwards employed him along with Giovanni da Udino, to 
 affift him in thofe grand works in which he was engaged. Perino was remarkably 
 excellent in defigning the decorations and elegant ornaments of architecture, and in that 
 branch feems to have been without a competitor ; for, after he had for fome time executed 
 the defigns of Raphael, thofe of his own invention were full as highly applauded. 
 
 Although he at firft had formed his tafte from the works of Buonaroti, yet he always 
 adhered to the ftyle and manner of Raphael, which he preferred to the other. It cannot 
 be faid that he poffeffed the fublime manner of thinking which conftantly appears in the 
 compofitions of Raphael ; but he imitated Raphael's manner of defigning, better than any 
 of thofe who were taught in that celebrated fchool, and his colouring was beautiful. His 
 decorations were invented with great eafe and readinefs ; he gave them uncommon grace, 
 boldnefs, and beauty, like the antique, nor were they inferior to it, either in tafte or 
 elegance } and his fancy was inexhauftible. The moft material objection made to the 
 hiftorical compofitions of Perino, was, that there appeared too great a famenefs in the turn 
 and air of the heads of his female figures, which was fuppofed to arife from his defigning 
 them after the fame model. 
 
 He finiihed feveral admirable defigns in the palace of the Pope, and gained the higheft 
 reputation by thofe works which he executed in the palace of Prince Doria at Genoa : for, 
 befides the fubjects of hiftory, and the reprefentation of battles of horfe and foot, thofe 
 beautiful grotefques which he painted in the true antique tafte, the rich and elegant 
 ornaments, the poetical and fabulous hiftories he introduced, the mafks, boys, animals, 
 and other productions of a lively imagination, were fo charmingly defigned, and executed 
 with fo much fpirit, judgment, and relief, that it feems impoflible to defcribe or to praife 
 them in any degree proportionable to their merit. After the death of Raphael, thofe 
 defigns which were left imperfect by that illuftrious painter, were finiihed by Perino, in 
 conjunction with Julio Romano, and Francefco Penni, called II Fattore. 
 
 Among a great number of excellent defigns by this great artift, the following are 
 particularly applauded: the Ifraelites taking Jericho ; the Immolation of lfaac; Jofeph 
 fold by his Brethren; Jacob wreftling with the Angel ; the Drowning of Pharaoh; befides 
 many fubjects taken from the hiftory of the New Teftament. 
 
 PIETRO da PETRI. 
 
 Painted Hi/lory. 
 DIED I716, AGED <I. 
 
 According to the teftimony of fome writers, this painter was born at Rome in 1665, 
 but, according to the Chronological Tables, at Novarra, and was the difciple of Carlo 
 Maratti. 
 
 S s s 
 
PI G 
 
 P I N 
 
 He painted in the ftyle of his matter, but not with an equal degree of beauty as to his 
 colouring, nor with fo exquifite a pencil ; but he proved a very good defigner, and fome- 
 times gave an air to his figures that was amiable and graceful. He ftudied the works 
 of Raphael with great attention, and became an admirable copyer of the works of other 
 mailers, more efrKcially of Raphael and Maratti ; and his paintings are at this day in very 
 great efteem. 
 
 Simon PIGNONL 
 Painted Hijiory. 
 
 DIED 1698, AGED 86. 
 
 He was born at Florence, in 1612, and at firft inftructed in the art of painting by 
 Fabrizio Bofchi, who taught him defign ; but he quitted that fchool, to enter under the 
 tuition of Paffignano. Yet, although he became an excellent performer, through the 
 precepts of that matter j when he obferved the tafte of Francefco Furini, it fo powerfully 
 affected his imagination, by correfponding exactly with his own turn of mind, that he 
 determined to adhere to that ftyle and manner in his fubfequent defigns. This was the 
 only indifcreet and cenfurable point in the conduct of Pignoni j for the peculiar tafte of 
 Furini confifted in defigning naked figures, and in fome of his pictures he was apt to 
 expofe, with too great a licentioufnefs, what modefty would have induftrioufly concealed.. 
 
 He went to Venice, to improve himfelf in colouring, and ftudied with great pleafure 
 the. tints of Titian, Albano, and Guido, in their naked figures, which beft fuited his own 
 fancy; but he determined principally to imitate the tender and lovely manner of the latter. 
 However, after his return to Florence, hp altered the tone of colouring which he had 
 aiTumed at Venice, and, by a judicious additional mixture of ultra-marine, rendered his 
 carnations much more delicate and beautiful j fo that his works were univerfally admired 
 and coveted, for the charming forms of. his figures, for their being excellently difpofed, and 
 admirably coloured. . 
 
 He painted a number of facred fubjects in an exquifite tafte, which are eftimated at 
 a very large price, and preferved as curiofities in the cabinets of the Italian Nobility. At 
 the approach of the diftemper of which he died, he exprefled the ftrongeft concern for his 
 having painted lafcivious fubjects, and died remarkably penitent. 
 
 John P I N A S. 
 Painted Hiftory y Portrait^ and Landfcape, 
 
 He was born at Haerlem, about the year 1596, and in his native city learned the firft 
 rudiments of the art of painting \ but he travelled to Italy, and ftudied for feveral years 
 with Peter Laftman. His ftyle of colouring was ftrong, and rather inclining too much 
 to the deep brown or blackifh tint ; yet, in that manner of painting, he had many admirers; 
 and fome imagine that even Rembrandt, in that refpect, imitated the ftyle of Pinas. 
 
 An extraordinary fine picture, by this matter, is the Hiftory of Jofeph fold by his Brethren, 
 Which is highly commended, as well for the defign, as for the good effect of the whole. 
 
 Jacques, 
 
P I N 
 
 C 507 3 
 
 P I N 
 
 Jacques PINAS. 
 Painted Hijlory^ Land/cape, and Portrait. 
 
 He was the brother of John Pinas, born likewife at Haerlem; in which city he was 
 inftructed in the principles of delign and colouring, and continued there to follow his 
 profeflion.' As he had not the fame opportunities of improving himfelf by vifiting Italy 
 as his brother had done, he was in no degree equal to him ; but, after John's return to his 
 own country, Jacques received considerable advantage from the directions of his brother} 
 and his works, though inferior to thofe of John, were neverthelefs very well efteemed. 
 
 Bernardino PINTURICCIO. 
 
 Painted Hijiory^ Portrait^ and Grotefque* 
 *DIED I513, AGED 59, 
 
 He was born at Perufia, in 1454, and was a difciple of Pietro Perugino, who in fome 
 few years made him fo confiderable an artift, that he employed him on many occafions as 
 his afiiftant. He principally painted hiftory and grotefque, but he alfo excelled in portraits ; 
 which he defigned well, and coloured with a great deal of livelinefs and nature. Among 
 the number of his beft portraits are particularly noticed, thofe of Pope Pius II. and 
 Innocent VIII. of Giulia Farnefe, Caefar Borgio, and Queen Ifabella of Spain. 
 
 He performed an abundance of works in Rome, and other cities of Italy, and was 
 much employed, though his manner was fo fingular, that it was not imitated by any of 
 his cotemporaries : for he beftowed extraordinary care on the high finifhing of his 
 pictures, and endeavoured to add an unufual fplendor to his paintings, by introducing 
 a richnefs of gilding in feveral parts of the work, blended with ornaments of architecture 
 in relievo, quite unfuitable to the true tafte of elegant fimplicity in a picture. And 
 although fuch a ftyle might afford pleafure to an injudicious eye, yet it muft always 
 difguft thofe who poffefs a more refined idea, and a more extenfive knowledge of the art. 
 
 The moft memorable performance of Pinturiccio, is the hiftory of Piu-s II. painted in 
 ten compartments, in the library at Siena. In that undertaking, Raphael, who was then 
 a very young man, and bred under the fame mafter as Pinturiccio, fo far aflifted him, that 
 he Iketched many parts of the compofition, and made cartons of the moft material incidents 
 of the hiftory for him. 
 
 The laft work in which he was engaged, was a Nativity, for the Monaftery of 
 St. Francis, at Siena; and the Monks, being defirous to accommodate him in the beft 
 manner, appropriated a chamber to his particular ufe, where he might work without any 
 interruption. But, as Pinturiccio was naturally of a peevifh and impetuous temper, he 
 exprefled great impatience to have the apartment entirely cleared, and infifted that every 
 
 S s s 2 thing 
 
 * In the Chronological Tables, it is very erroneoufly faid, that Pinturiccio was born in 1497, and died in 1533, at 
 36 years of age j though Vafari fays, he was 59 when he died. 
 
P I o 
 
 [ 5c8 ] 
 
 P I O 
 
 thing fhould be moved out of it. The Monks, willing to gratify him in- all refpe&s, 
 removed all the furniture as expeditioufly as pofiible, except one large old *cheft, almoil 
 decayed by time, which could not be moved from the fpot, without a probability of its 
 being broken in pieces. However, the pofitive painter infifted on its removal ; and the 
 Monks had fcarcely ftirred it from its place, when one of the rotted planks giving way, 
 difcovered a treafure of five hundred pieces of gold, which had lain there fecreted for 
 many years. 
 
 The difcovery proved an inexpreflible joy to the Monks, and an equal mortification to 
 the artift, who, being confcious that he loii the treafure by his own indifcreet obftinacy, 
 became fo tormented in his mind, and fo deprefled in his fpirits, that he furvived the 
 tranfa&ion only for a very few months, and it was generally accounted the caufe of 
 his death. 
 
 Sebastian del PIOMBO, called alfo Venetian o. 
 Painted Portrait and Hi/lory, 
 
 DIED 1547) AGED 62. 
 
 He was born at Venice in 1485, and learned the rudiments of the art from Giovanni 
 Bellini; but afterwards he became the difciple of Giorgione, whofe beautiful ftyle of 
 colouring he carefully ftudied, and imitated it with the greateft fuccefs. 
 
 His firft attempts, when he entered on his profeflion, were in portrait ; and the appro- 
 bation he received afforded him fo much encouragement, that at laft he arrived at the utmoft 
 perfection in that branch of painting. He was not only admired for the ftrong refemblance 
 of his pictures, but alfo for the fweetnefs of his manner of colouring, and the roundnefs 
 and bold relief of his figures ; in all which parts he fo happily refembled Giorgione, that 
 feveral of the portraits painted by Piombo were miftaken for thofe of his mafter. Nor 
 could any artift be more highly celebrated, than he was for the portrait of Giulia Gonzaga, 
 the favourite of Cardinal Hippolito de Medici; which, by all. the writers of that age, was 
 called a divine performance. No mafter of his time had greater excellence in defigning 
 the heads and hands of his figures, and his draperies were natural, end exquiiitely finifhed. 
 
 As the reputation of Sebaftian had extended itfelf through moft parts of Italy, it 
 procured him the friendfhip of Agoftino Chigi, a rich merchant of Siena, who traded at 
 Venice ; and by his perfuafion Sebaftian was, without any great difficulty, prevailed on 
 to accompany him to Rome. That city afforded him a new fcene to difplay his talents ; 
 and as his ftyle was foft and delicate, like that of Giorgione, and very different, in many 
 refpects, from that which was ufually pra&ifed by the eminent artifts of Rome at that 
 
 period, 
 
 * De Piles, and a few other writers, affert that the five hundred ducats of gold dropped out of an old fuit of armour, 
 which Pinturiccio ordered to be removed ; but, the word in Vafari is Cafibnaccio, which fignifies a great old box, cheft, 
 or trunk} and it is fo tranflated by Altieri in his dictionary. Certainly it mud at leaft appear more confonant with 
 probability, that fuch an antiquated piece of furniture as an old cheft might be made a repofitory for live hundred pieces 
 qf gold, rather than any part of a fuit of fteel armour, whether old or new. 
 
P L A C 509 ] P L A 
 
 period, his works, as well in frefco as in oil, were exceedingly a^ired. He diftinguifhed 
 himfelf equally in hiftory and portrait ; and was allowed to have an exceeding good manner 
 of defigning, with a great deal of grace in his airs and attitudes. 
 
 His reputation was very much advanced, by the friendfhip which Michael Angelo 
 Buonaroti expreffed for him. That famous artift favoured him on all occafions, preferred 
 him before all the difciples of Raphael, and was zealoufly aftive in his praife and recom- 
 mendation; and as Raphael had painted the celebrated pifture of the Tm^iition, 
 Which was placed as an altar-piece in the church of St. Peter » ivlontorio, Michael 
 Angelo advifed Sebaftian to paint in the fame church z gran( j CO mpofition of the Refur- 
 reclion of Lazarus, to ftand in competition with the picture by Raphael. It was 
 affirmed, that either to fet the merit of Piombo in the ftrongeft point of light, or (what 
 is more probable) out of fome degree of envy at the inconteftable merit of Raphael, 
 Buonaroti promoted the undertaking, and it was faid that he even gave the defign. 
 
 When the work was finifhed, the abilities of Sebaftian were confeffed by the ableft 
 connoiffeurs; and although the wonderful compofition of the Transfiguration Was 
 accounted inimitable for defign, expreffion, and grace, yet the work of Piombo, even 
 while compared with it, was exceedingly and univerfally admired ; and after the death of 
 Raphael, he was confidered as the beft artift in Italy. 
 
 He lived in the utmoft efteem with Pope Clement VIII. whofe portrait he- drew with 
 an amazing refemblance of life and nature; and he alfo painted the famous Satirift 
 Aretine, in an equal degree of perfection. That portrait was afterwards placed in the 
 council chamber of Arezzo, not only as an honour to the poet, but to the city which, 
 produced fuch ?. genius. But none of the pictures of this mafter feem to be mentioned 
 With greater encomiums, than that of the martyrdom of St. Agatha, which he painted 
 for the Cardinal of Arragon, and was in the poffefiion of the Duke of Urbino. That 
 painting is defcribed as being beautifully defigned, charmingly coloured, and admirably 
 finifhed ; and was accounted to be in no refpecl: inferior to the beft of Raphael, Titian, 
 or any other of the great mafters. 
 
 He was the inventor of the art of painting upon walls with oil; which, it is faid, was 
 by a plafter compofed of quick lime, pitch, and maftich. 
 
 David Vander P L A A S. 
 Painted Portrait. 
 
 DIED I7O4, AGED 57. 
 
 He was born at Amfterdam, in 1647, and had a manner of painting that was very 
 fingular, and peculiar to himfelf. He fpent feveral years in Italy, and particularly ftudied 
 Titian, whofe works he made his model ; and in his ftyle he feemed defirous to imitate 
 the effect produced by the colouring of that eminent artift, though he attempted it by a 
 very different manner of penciling ; for he laid on his colours with a ftrong body, and 
 
 by 
 
PL A 
 
 1 5*o 5 
 
 FOE 
 
 by a proper flcill in the ghiaro-fcuro, his lights and ftiadows were fo placed, as to produce 
 a lively and natural affect, without breaking the manes, or fcumbling his colours toge~ 
 ther. That method not only gave more force to his figures, but it alfo preferved his 
 colours from fading, and gave them a lading beauty. Undoubtedly his pictures could 
 not admit of a near infpection , but when viewed at a competent diftance, they have 
 jhe appearance of life and nature. 
 
 The pi&ure which is mentioned as one of his moft capital performances, is the portrait 
 of the renowned Admiral Van Tromp ; in which there is a fine expreflion of the forti- 
 tude of foul, the fpirit, fire, and refolute boldnefs of that great officer. 
 
 Matthew Van PLATTE N, called 1l Mont agna. 
 Painted Landfcapes, and Sea Views. 
 
 He was born at Antwerp, in 1640, and in that city learned the principles of defign and 
 colouring ; but he vifited feveral parts of Italy, to refine his tafte of defign, by ftudying 
 nature, and making accurate obfervations on the works of the beft matters. He redded 
 for a long time at Florence, along with John Aflelyn, who was known there by the 
 name of Crabbatje, and was a painter of extraordinary merit. 
 
 Van Flatten was admirable in defcribing calms on the fea, and the reflections of bodies 
 on a tranfparent fur face ; and was equally happy in reprefenting ftorms on land or water ; 
 but, in his land ftorms efpecially, the ikies, clouds, and trees, were wonderfully expreflive 
 of true nature. His landfcapes are remarkable for their lovely fituations, for their 
 perfpective truth, for the beauty of his diftances, for thofe elegant pieces of architecture 
 which he introduced, and for their colouring, which was extremely pleafing and natural. 
 
 POCH.ETTL Vid. Barbatelli. 
 
 Cornelius POELEMBURG, 
 
 Painted Landscapes, Caves, and Grottos. 
 
 DIED l660, AGED 74. 
 
 He was born at Utrecht, in 1586, where he became the difciple of Abraham Bloemart 1 
 but he quitted that mafter, as foon as he had made a reafonable proficiency in the art, and 
 travelled to Rome. His firft determination was to imitate the manner of EMheimer j but 
 he found himfelf fo affected, while he contemplated the works of Raphael, that he refolved 
 on endeavouring to imitate the grace of that incomparable mafter, particularly in the 
 naked. He ftudied with advantage fome of Raphael's excellencies 3 but he did not 
 fufficiently attend to that part which conftitutes his higheft merit, which was defign. 
 
 He formed for himfelf a ftyle that was entirely new, and in many refpects preferable to 
 the Flemilh gufto ; but it did not refemble the ftyle of any Italian mafter, except in the 
 
 5 ruins 
 
p o z 
 
 fruins of the antique buildings, with which he adorned his Iandfcapes, and which he had 
 with great care copied after nature. He furpafled all his cotemporaries in the delicacy of 
 his touch, in the fweetnefs of his colouring, and in the choice of agreeable objects, and 
 fituations. His flues are clear, light, and tranfparent; his back-grounds ornamented 
 often with the veftiges of magnificent Roman edifices, which always contribute to the 
 harmony of the whole composition ; and his female figures, which he generally reprefented 
 naked, are beautiful and elegant forms. His greateft excellence appeared in the fmall 
 pictures of his hand, for in the larger fize he is not fo deferving of commendation. 
 
 The Italians were exceffively pleafed with the works of Poelemburg j and fome of the 
 Cardinals at Rome, of the fineft tafte, attended him frequently while he was painting, to 
 obferve his manner of working, and expreffed their admiration in the ftrongeft terms. 
 
 It was not without great regret that. he left Rome, to return to his own country; though 
 he afterwards found fufficient caufe to be pleafed with the honours he received from the 
 Grand Duke at Florence, and the refpect fhewn to him in every city through which he 
 travelled, as well as in his native city Utrecht. For, not long after his arrival, Rubens 
 paid him a friendly vifit ; and having exprefled a Angular pleafure in examining the works 
 of Poelemburg, he'purchafed feveral for his own cabinet, and befpoke others. By which 
 generous conduit, he inftru&ed the lovers of. the art to eftimate the, merit of Poelemburg 
 as highly as they ought, and at the fame time advanced the fortune and the reputation of 
 that artift. 
 
 By King Charles I. he was invited to the Court at London, where he painted many 
 curious pictures, for which he was nobly recompenced; and that Monarch endeavoured 
 earneftly to induce him to continue in England ; but his fondnefs for his own country 
 prevailed over all other considerations, and he returned to, Utrecht, where he acquired an 
 affluent fortune, and lived in univerfal efteem. Several very eminent artifts procured 
 him to paint the figures in their works, particularly Steenwyck and Kierings ; and the 
 excellent perfpe&ives of the former are fometimes rendered ftill more eftimable, by the 
 pencil of Poelemburg.. The genuine works of this mafter are exceeding fcarce; but hi's 
 difciple, John Vander Lis, imitated his manner fo fuccefsfully, that the paintings of Lis 
 are very often taken for. the works of his mafter. 
 
 Charles Francis POERSON. 
 Painted ptijlory and Portrait. 
 DIED I725, AGED 72U 
 
 He was born at Paris, in 1&53, and was a difciple of Noel Coypel, by whofe inftrue- 
 tion he proved a confiderable painter, in hiftory as well as in portrait. His promifing 
 talents procured him the countenance and protection of Monf. Manfard; by whofe recom- 
 mendation he was introduced to the Court of Lewis XIV. and appointed to paint the 
 portrait of that Monarch 3 in which he fucceeded fo well, that he was honoured with the 
 Order of St. Lazarus, 
 
 Si 
 
POL 
 
 r si2 3 
 
 POL 
 
 By the favour of his patron, who had conceived a very high opinion of the merit of 
 Poerfon, he was employed at the hofpital of the Invalids ; but, when the work was near 
 finifhed, it did not appear, to the beft judges, a commendable performance, either as to 
 the compofition or execution, nor equal to what was expected from the character of the 
 artift. For that reafon Manfard caufed it to be entirely defaced, to quiet the fpleen of the 
 multitude of critics, who were very loud and fevere in their cenfures. It certainly muft 
 have been a fignal mortification to the artift, to obferve fo general a contempt of his 
 work; but he had a much greater mortification, when he faw Bon Boullongne, who had 
 lately accomplifhed his ftudies at Rome, undertake the fame work, and fucceed in it with 
 univerfal applaufe. 
 
 However, his protector Manfard found out a means fomewhat to raife his fpirits from 
 their dejection, by , prevailing on the King of France to appoint him director of the 
 French Academy at Rome ; which ftation he filled with great honour, and died Prince of 
 the Academy of St. 'Luke, to which he was elected on the death of Carlo Maratti in 17 13. 
 
 IPO LID ORE. Vid. Glauber. 
 
 P O L I D O R O da C'aravaggio. 
 
 Painted Hi/lory, Landfcape, Animals, and Grotefque. 
 
 DIED IS43, AGED 5I» 
 
 This extraordinary artift was born at Caravaggio in the Milanefe, in 1492, and went 
 young to Rome; where, to the aftonifliment of all the painters, the feeds of that incom- 
 parable genius unfolded, which afterwards proved an ornament to the profeffion: for 
 .Polidoro was in fuch narrow circumftances, that he was obliged to attend as a labourer, 
 in preparing the ftucco for the artifts, and continued in that mean occupation till he was 
 eighteen years of age. 
 
 At that period, being employed to attend on Giovanni da Udino, and attentively 
 obferving his manner of working, he was fo wonderfully affected, and animated with a 
 defire to learn the art of painting, that he folicited fome of the young painters, who 
 aflifted Raphael in his works at the Vatican, to teach him the rules of defign. He 
 ftudied their inftructions with moft laborious application, and attached himfelf particularly 
 to Maturino, a young Florentine, who at that time painted in the Pope's chapel, and 
 was accounted an excellent defigner in the ftyle of the antique. Polidoro practifed 
 inceffantly under the directions of Maturino, and in a very fhort fpace of time gave fuch 
 proofs of a fuperior genius, as excited the admiration, and even the aftonifliment of all 
 the artifts at Rome, more efpecially of thofe who remembered his late fervile occupation. 
 
 A fimilarity of tafte and talents in Polidoro and his inftructor, produced a difinterefted 
 affection in both - 3 and they determined, during the remainder of their lives, to aflbciate 
 
 2 as 
 
£ O L [ &Z ] POL 
 
 as brothers, to live and labour together, and to have but one purfe, as they appeared to have 
 but one heart ; nor did they ever violate that friendly compact, till the death of Maturino. 
 
 From nature Polidoro polTeffed a lively and fertile genius; and the rapidity of his pro- 
 grefs fo furprifed and delighted Raphael, that he engaged him as one of his afliftants at 
 the Vatican, where he gained more honour than any of the difciples of that great mafter. 
 He had obferved that Raphael formed his tafte of defign, by his peculiar attention to the 
 antique ; and therefore he devoted his whole time to that ftudy, and fpent entire days and 
 nights in defigning after thofe incomparable models, till at laft he made himfelf eminent 
 as well for the extreme correclnefs of his defign, as for the grandeur of his tafte. He 
 was particularly fond of the antique bas-relief, and imitated it fo happily in many of his 
 compofitions, that his works in that ftyle are confidered as the ftandard of fine tafte 
 and true elegance. 
 
 He underftood and practifed the chiaro-fcuro, in a degree fuperior to any of the 
 Roman fchool; and as he joined the ftudy of nature to the knowledge of the antique, his 
 works fhew a beautiful mixture of both. The airs of his heads are graceful, his 
 attitudes well chofen, his draperies difpofed with eafe and elegance, and his figures have 
 a noble expreflion. His pencil is light, foft, and free, and it is impoflible for a judicious 
 eye to behold his performances, and not admire them. When he paints the frizes of 
 ancient architecture, or when his fubject requires vafes, ftatues, urns, or the apparatus 
 for facrifices, to be introduced as ornaments, he defigned them admirably, and always 
 gave them the true air of Greek and Roman antiquity. He finifhed an incredible number 
 of hiftorical pictures at Rome, both in frefco and oil, in conjunction with Maturino; 
 few of the churches, palaces, or gardens, being without fome of his paintings. 
 
 But, amidft all the happinefs that fame or fortune could confer on him, he was forced 
 to fly from Rome when it was ftormed and pillaged, and compelled, along with other 
 eminent artifts, to feek for refuge in other cities of Italy. At firft he retired to Naples, 
 where he met with no encouragement, and from thence vifited Meffinain Sicily, where he 
 was employed to paint the triumphal arches, erected for the reception of Charles V. 
 after his victory at Tunis ; and by that and other gfand compofitions, he obtained a large 
 fum of money and very great reputation. 
 
 Thus enriched, and Rome being reftored to its peace, he was impatient to return to 
 that city, and the day before his intended departure^ he drew all his money from the 
 bank of Meflina. But his valet, who was a Sicilian, knowing the intention of his mafter, 
 and having difcovered that a confiderable fum was in his cuftody, confpired with fome 
 other aflaflins, who murdered Polidoro in his bed; and, to avert all fufpicion of the real 
 murderers, they depofited the body at the door of a lady who had been a favourite of 
 Polidoro, to induce the public to believe that he had received his death from a rival. 
 
 The affaflins fled that night from Meflina, as foon as the plunder was divided, except 
 the valet, who concluded himfelf fecure from conviction ; and the next morning he went, 
 as if conducted by the hand of Providence, to wait on a nobleman who had been a moft 
 
 T t t cordial 
 
P O M 
 
 r V4 ] 
 
 POO 
 
 cordial friend to Polidoro, to acquaint him with the death of his mafter. But the Count 
 replied, that Polidoro had too much probity and goodnefs to excite the enmity of any ; 
 and therefore he was perfuaded that none could be guilty of fuch a villany but his valet. 
 And as he obferved a vifible alteration in the countenance of that aflaflin, he caufed him 
 to be torturned, which foon urged him to confefs the whole tranfaction i and he fuffered 
 the juft punifhment of his crime, his flefh being torn off with burning pincers, as he 
 was carried to execution. 
 
 The laft work of this great mafter was a Crucifixion, in which he defigned a multitude 
 of figures, of horfemen, foldiers, Pharifees, women, and children, who attended on that 
 occafion ; and he difpofed them with the utmoft elegance and propriety of character. 
 The whole was painted admirably, and in that compofition he feemed defirous to give an 
 inconteftable proof of his refined tafte, his extenfive genius, and the power of his pencil. 
 
 POMERANCIO. Vid. Christofano Roncalli. 
 
 Antonio and Nicolo POMERANCIO. Vid. Circicnano, 
 
 Rachel Va n POOL, or Ruisch. 
 Painted Fruit and Flowers. 
 
 DIED I75O, AGED 86. 
 
 This paintrefs was born at Amfterdam, in 1664, the daughter of the famous anatomy 
 profeffbr Ruifch, and was inftructed in the art by William Van Aalft, an eminent painter 
 of flowers. In a few years me appeared equal to that mafter, and wanted no other 
 affiftance but to ftudy nature, which fhe did with a curious and penetrating eye, and 
 imitated nature in fo lovely a manner, that fhe was confidered almoft as a prodigy, and 
 allowed to be the moft able artift of her time. Her choice of objects was elegant; her 
 manner of painting them was exquifite ; and fhe contrafted them in all her compofitions 
 with unufual beauty and delicacy; fo that her reputation was fpread through moft parts of 
 Europe. 
 
 She was appointed court paintrefs to the Elector Palatine; and that Prince, as a 
 •teftimony of refpect for her merit, fent her a complete fet of filver furniture for her 
 toilet, confifting of twenty-eight pieces, and fix candlefticks of wrought plate for wax 
 tapers. He did indeed engrofs the greateft part of her works ; and not only payed for 
 them with a princely liberality, but always made her fome additional prefent. 
 
 It is very remarkable that fhe continued to paint to the laft period of a very, long life, 
 and that the pictures finifhed by her at the age of eighty, were as neatly penciled, and 
 worked up as highly, as thofe which had been painted when fhe was thirty. She was 
 one of the moft complete artifts in her ftyle, that almoft any age hath produced. She 
 compofed her fubjects with extraordinary fkill and judgment; fhe worked them up to 
 
 the 
 
POO [515 3 POR 
 
 the higheft degree of tranfparence j and her colouring was not only beautiful, but it 
 fliewed fo much truth and nature, that every plant, flower, or infect, might delude the 
 eye to believe them real j and her paintings were allowed to be, in many refpects, 
 fuperior to thofe of Mignon. Her pictures are uncommonly rare, being treafured up as 
 curiofities in Holland and Germany, in the cabinets of Princes, or fn the collections of 
 the moft wealthy connoiffeurs. 
 
 JURIAEN POOL* 
 
 Painted Portrait. 
 
 DIED I745, AGED 79. 
 
 He was born at Amfterdam, in 1666, and was the hufband of the celebrated Rachel 
 Ruifch. He excelled in painting portraits j and his fingular merit in that ftyle recom- 
 mended him to the efteem of Rachel, preferably to feveral other competitors, of much 
 greater confequence and fortune. 
 
 He fliared the favour of the Elector Palatine along with his wife, to whom that Prince 
 was a moft munificent patron, and he admired the works of both. After the death of the 
 Elector, Juriaen entirely quitted his profeflion of painting, to the great regret of all the 
 lovers of the art, who could never aflign any juft caufe for fo fudden a refolution ; and he 
 gave himfelf up wholly to a commercial life. 
 
 Giovanni Antonio Licinio PORDENONE, called the Old. 
 
 Painted Hijiory. 
 
 DIED I54O, AGED 56. 
 
 He was born at Pordenone, a caftle in Friuli, about twenty-five miles diftant from 
 Udino, in 1484; and without any particular inftructor, merely by the ftrength of a happy 
 natural genius, aided by an invincible love to the art of painting, he arrived at a very 
 high degree of perfection ; having only ftudied carefully the works of Giorgione. But 
 to accomplifh himfelf ftill more effectually, he applied himfelf to ftudy nature ; he defigned 
 human figures after living models j and fketched every action, air, and attitude, that his 
 eye or his judgment approved j and endeavoured to imitate the beautiful effects of light 
 and fhadow, fo as to give every object a natural and becoming relief. By which courfe 
 of ftudy and practice, he became an artift of the firft rank, and was univerfally confidered 
 as one of the beft painters of his time. 
 
 At firft he painted in frefco with great applaufe, and executed feveral grand compo- 
 fitions in that manner of painting at Udino, Vicenza, Mantua, and Venice j but he alfo 
 painted in oil, with an equal degree of excellence ; and diftinguilhed himfelf above all 
 his cotemporaries, in the art of fore-fhortening his figures. His invention was fertile, 
 
 T 1 1 a his 
 
P'Ol 
 
 t 516 s 
 
 his tafte of defign good," his colouring like that of Titian ; .and his works had a great 
 deal of force, with an appearance of eafe. 
 
 A ftrong emulation perpetually- fubfifted between Pordenone and Titian; and the former 
 painted a chapel in the church of St. Roch, profeffedly in - competition with the latter, 
 with which performance the Senate of Venice feemed fo highly pleafed, that they 
 appointed him a penfion during his life, as a public reward for his merit. However, 
 although it was no inconfiderable honour to him, to be able to difpute the fuperiority with 
 fo applauded a mafter as Titian ; and though' partiality, prejudice, and want of competent 
 judgment, might occaiion many to decide in favour, of Pordenone; yet pofterity, which 
 is always impartial, hath determined the conteft in favour of the other. If we may rely 
 on the tcftimony of Vafari, he affirms, that the works of Pordenone are far inferior to 
 thofe of Titian; and that it- was. only from a fpirit of envy and malignity to that incom- 
 parable arrift, that. Pordenone was, by ome judges, placed on an equality with him. 
 
 And that this was certainly . the cafe, maybe conjectured from his undertakings at 
 Genoa. For, the Prince Doria having employed Pierino del Vaga, to decorate fome of 
 the grand apartments in his palace, and obfe'rving him to be too dilatory-in the execution, 
 engaged Pordenone to proceed in the work, .and he painted the fable of Jafon failing in 
 fearch of the Golden Fleece ; but when his work was compared with that which Pierino 
 had fmifhed, the Prince was fo. greatly diiiatisfied, that he immediately difmiffed him, and 
 he returned to Venice. 
 
 From that city he was invited to Ferrara, by the Duke, who careffed him exceedingly, 
 and fhewed him many marks of his favour and efteem ; but he died there foon after, ,3nd 
 it was fuppofed that his death was occafioned by a dofe of poifon, adminiftered to him 
 by fome of his own profeffion, who envied him thofe honours which the Duke conde- 
 scended to confer upon him. 
 
 G'iulio Li ci n 10 PORDENONE, called the Young, 
 
 Painted Hijiory. 
 
 DIED I57O, AGED 50. 
 
 He was born at Venice, in 1520, and was the nephew as well as the difciple of 
 Giovanni Antonio Pordenone. He imitated the manner of his uncle, and painted fo like 
 him, that their works are often miftaken. That performance by which his reputation is 
 perpetuated, is a painting in frefco, on the front of a houfe in Augfburg, which is 
 fufficient to afcertain the ftyle, and the merit of this mafter. 
 
 Giuseppe PORTA, called S a l v i a t i. 
 Painted Hi/lory. 
 
 DIED I585, AGED 50. 
 
 He was born at Caftel-Novo, in 1535;. and being fent very young to Rome, configned 
 to the care of his uncle, who was fecretary to the Archbifhop of Pifa, he was placed as 
 
 5 a difciple 
 
P O S [ 517 ] TO S 
 
 a difciple with Francefco Salviati; under whofe dire&ion, in a fhort fpace of time, ha 
 acquired an excellent tafte of defign, with a beautiful ftyle of colouring, and was ever 
 after diftinguiftied by the name of his mafter Salviati. 
 
 Francefco, having received an invitation to Venice, took his difciple along with him; 
 and Porta, finding great encouragement in that city, made it his place of refidence, and 
 mod of his future works were for the churches and palaces at Venice, He had a good 
 tafte of defign, a ready and fine invention, and a tone of colouring not much inferior to 
 the greateft mafters; but his compolitions would have appeared abundantly more pleafing, 
 if he had not marked the mufcular parts of his figures too ftrong. 
 
 His moft capital performances (though many of his produdtions deferve the largeft 
 commendation) are in the palace of the Doge; of which the fubje£ts are the Sybils, the 
 Prophets, and the Cardinal Virtues, which have been exceedingly admired and applauded. 
 
 Andrea POSSO, or Pozzo. 
 Painted Architecture, Hijiory, Landfcape, and Portrait. 
 
 DIED I709, AGED 67. 
 
 He was born at Trent, in 1642, and at firft was inftructed by an artift of very mean 
 abilities, who obferved in his difciple a progrefs that foon rendered him fuperior to himfelf; 
 and being unwilling to appear incapable of inftructing him farther in the art of painting, 
 he fet him to defign after the beft pictures that were to be feen in that city. By a continual 
 application to thofe ftudies, Polio made a great .number of good defigns, even while 
 he was yet very young. But afterwards he -became the difciple of a painter who had 
 ftudied feveral years at Rome, and at that time accidentally lived at Trent, whofe works 
 fhewed a much better tafte of defign, and greater elegance in the difpofition of his fubjects, 
 than any of the artifts who practifed there. 
 
 With that painter he. went to Milan as his pupil 3 and yet, notwithstanding the many 
 proofs of an elevated capacity and genius, which that mafter could not but difcover in 
 his difciple, he treated him moft ungeneroufly; and would have prevented him from 
 vifiting either Rome or Venice, though, for that only purpofe, he had with great difficulty 
 faved every fmall fum that fell into his hands. However, he found a patron and protector 
 in Milan, who was a lover of the art, and whofe liberality afforded him the opportunity 
 he defired, of purfuing his favourite ftudies of perfpective and architecture i who alfo 
 rewarded him in a noble manner, far beyond the expectation of Poffo, for every fmall 
 work he prefented. But unhappily, by having plenty of money to fquander away, he 
 fell into vicious company, and grew extremely diflblute ; till he was fo affected by a 
 pathetic difcourfe of an eminent preacher, that he fuddenly refolved to retire from the 
 world, and at the age -of twenty-three was admitted into the fociety of the Jefuits. 
 
 Thofe fathers having obferved Poffo to be fond of defigning and painting, having alfo 
 feen two pictures of his own invention, and being always invariably attentive to, every 
 
 incident 
 
POS 
 
 [ 518 ] 
 
 POS 
 
 incident that might conduce to the benefit of their own body, refolved to have him inftru&ed 
 by an able artift; and they prevailed with Ludovico Scaramuccha to take PofTo under his 
 care. By the precepts of that matter he acquired a grand and magnificent ftyle of com- 
 pofition, and painted feveral fubjedls taken from facred hiftory, in frefco, as well as 
 in oil. Every work he finiftied added ftill to his reputation, and at laft he became 
 confeffedly fuperior to all his cotemporaries. 
 
 He executed fome noble defigns at Turin; and being called alfo to Rome, he there 
 indulged his genius by ftudying accurately the moft fuperb ftructures in that city ; and 
 performed a great many admirable works in different parts of Rome, and in the principal 
 cities of Italy, which aftoniftied every judicious eye that obferved the variety, the elegance, 
 the grandeur, and the elevation of his ideas. 
 
 No painter could poffefs a more extenfive knowledge of perfpective than Potto; he 
 was abfolute matter of the true principles of the art, and no't only had a clear conception 
 of them himfelf, but he had the fkill to explain them intelligibly toothers; and thofe 
 volumes which he publiflied on that fubject, will be as lafting a proof of his excellence 
 in writing, as his works are of his excellence in painting. All his defigns in perfpective 
 architecture are furprifingly grand, rich, and in an exquifite tatte; fo as not only to 
 entertain the eye of a fpectator, but pleafingly to deceive it. He excelled in hiftory, 
 landfcape, and portrait, and almoft in every branch of the art, though his correctnefs and 
 expreflion were not equal to his elevated ideas ; but in architecture and perfpective he 
 was critically and wonderfully exact. 
 
 His fine ftyle in portrait-painting procured him the particular efteem of the Emperor 
 Leopold I. who invited him to his Court, fat to him for his portrait, and appointed him 
 to paint him the portrait of the Archduke Jofeph; which was extremely applauded, as 
 well for the likenefs, as for the fpirit and dignity of the attitude. Among a number of 
 hiftorical fubjects which he painted at Vienna, that of the Wife Men offering to Chrift 
 is particularly mentioned, as being fo highly admired by the Emprefs, that (he ordered it 
 to be placed in her own chapel. 
 
 He died at Vienna; and the portrait of Potto, painted by himfelf, in a very expreftive 
 attitude, with a piece of architecture for the back -ground, is at prefent in the celebrated 
 gallery of painters at Florence. 
 
 Francis POST. 
 
 Painted Landfcape Views of the Weji Indies* 
 died 1680. 
 
 He was born at Haerlem, the fon of John Poft, a painter on glafs, who taught him 
 defign and colouring; and he practifed under the infpection of his father, till he was 
 fufficiently qualified to appear with credit in his profeflion. He had a brother who was 
 2x1 expert architect, and for fome years had been retained in the fervice of Prince Maurice 
 
 of 
 
POT 
 
 I 5i9 ] 
 
 POT 
 
 of Nafiau; and by his recommendation Francis was alfo employed by the Prince, and 
 went in his train to the Weft Indies. There he iketched the mod extraordinary views 
 of that country after nature, and, at his return to Holland, he fcarce ever painted on any 
 other fubjects. 
 
 His works, in his life time, were greatly admired, not only on account of the novelty 
 of his fcenery, but alfo as they were well handled. The fituations in his landfcapes are 
 generally agreeable and well chofen ; his fkies are clear, and his diftances remarkably blue j 
 his figures have no great elegance in their forms, nor have they correctnefs of outline j 
 but they fill their places with propriety, and they (hew the drefs, manners, fports, employ- 
 ments, or amufements of the natives of thofe countries very diftinctly. In moft of his 
 pictures the plants, trees, fruits, fifties, and wild as well as tame animals, are defcribed 
 with truth and nature; his trees are touched freely, and fome of them are loofe, and 
 finiftied with a mafterly pencil ; but all of them have a true refemblance to the models 
 from which they were defigned. However, the pictures of this matter's hand would 
 undoubtedly have a much more pleafing effect:, if the fore-grounds were not fo frequently 
 too dark, and fome of his verdures too green, by which means the harmony of the whole 
 is very often deftroyed. And it ought alfo to be obferved, that there is a great inequality 
 of merit in the landfcapes of Poft, many of them being truly worthy of commendation, 
 and fome of them very indifferent and flightly finiftied. 
 
 Paul POTTER. 
 Painted Cattle and Landfcape. 
 
 DIED 1654, AGED 29. 
 
 He was born at Enkhyfen, in 1625, and learned the principles of painting from his 
 father, Peter Potter, who was but a moderate artift; yet, by the power of an enlarged 
 genius and uncommon capacity, which he difcovered even in his infancy, his improve- 
 ment was fo extraordinary, that he was confidered as a prodigy, and appeared an expert 
 mafter in his profefiion at the age of fifteen. 
 
 His fubjects were landfcapes, with different animals, but principally cows, oxen, fheep, 
 and goats, which he painted in the higheft perfection. His colouring is foft, agreeable, 
 and tranfparent, and appears to be true nature; his touch is free, and exceedingly 
 delicate, and his outline very correct. His fkies, trees, and diftances, fliew a remarkable 
 freedom of hand, and a mafterly eafe and negligences but his animals are exquifitely 
 finiftied, and touched with abundance of fpirit. 
 
 He is efteemed one of the beft painters of the Low Countries, not only for the delicacy 
 of his pencil, but for exact imitation of nature, which he inceflantly ftudied, and reprefented 
 in a lovely manner. His only amufement was walking into the fields ; and even that amufe- 
 ment he fo managed, as to make it conduce to the advancement of his knowledge in the art ; for 
 he always fketched every fcene and object on the fpot, and afterwards compofedhis fubjects 
 2 from 
 
p o u [ 520 3 p u 
 
 from his drawings; though frequently he etched thole fketches, and the prints arc 
 defervedly very eftimable. 
 
 The paintings of Potter are exceedingly coveted, and bear a high price ; becaufe, 
 befide their intrinfic merit, the artift having died young, and not painted a great number 
 of pictures, they are now fcarcely to he procured at any rate. One landfcape which 
 originally he painted for the Counters of Solms, was afterwards fold (as Houbrakcn 
 affirms) to Jacob Van Hoeck, for two thoufand florins. 
 
 The correctness of the animals of Potter, in their various actions and attitudes, the 
 natural verdure of his trees, and the carelefs manner of his leafing, are fufficient marks 
 of the genuine works of that mafter. 
 
 Peter POURBUS, called the Old. 
 ■ Painted Hi/lory and Portrait. 
 
 DIED 1683, AGED 73. 
 
 He was born at Gouda, in 1610, but fpent the greateft part -of his life at Bruges, 
 where he was educated, and inftructed. in the art of painting. He was" very fuccefsful 
 in hiftoricai compofitions, and alfo very eminent in portrait, in which ftyle his moft 
 capital picture (according to Van Mander) is the portrait of the Duke of Alenton, 
 which is accounted excellent in refpect of the refemblance, as well as of the handling and 
 colour. But he painted a great , number of hiftoricai . fubjects for the churches and 
 convents; and the performance which is mentioned as his principal work is the Hiftory 
 of St. Hubert, which is placed-in the great church at Gouda. According to the defcrip- 
 tion of Sandrart, it reprefents a Bifhop baptizing two Catechumens, attended by two 
 perfons who hold wax tapersj and the back-ground is a perfpective view of the infide 
 of a temple executed with great elegance. 
 
 Francis POURBUS, called the Young. 
 Painted Portrait, Hijlory, and Animals. 
 
 *DIED I580, AGED 40. 
 
 He was born at Bruges, in 1540, and received his firft inftrudtion from his father Peter 
 Pourbus; but afterwards he was the difciple of Francis Floris, under whom his pro- 
 ficiency was fo great, that Francis ufed frequently to compliment him fo far as to call 
 him his mafter. And in reality he far excelled Floris in colouring, as he alfo proved 
 fuperior to his father in every branch of his profeffion. 
 
 He painted all kinds of animals extremely well, and in his landfcapes he was fo exact, 
 that every fpecies of fruit or foreft trees might readily be diftinguifhed. However his 
 
 greateft 
 
 • De Piles, -who allows. Francis to be the fon of Peter Pourbus, fays that he died in 1622; but he miftak.es the 
 fon for the grandfon of Peter, who did die in 1622 j for the fon of Peter died, as Sandrart affirms, in 15S0. 
 
POU 
 
 C 521 ] 
 
 POU 
 
 greateft excellence confifted in portrait, which he painted with life, fpirit, and ftrong 
 likenefs j and in all the heads of this artift, there may be obferved great truth and admi- 
 rable colouring. 
 
 Francis POURBUS. 
 Painted Hi/lory and Portrait. 
 
 DIED l622, AGED $2. 
 
 This painter was the fon of Francis Pourbus, born in 1570, and he acquired the 
 knowledge of painting from his father; but in fome years he furpaffed him in feveral 
 branches of his art. He travelled through different parts of Europe, and fixed at laft at 
 Paris, as he there found an ^encouragement for portrait-painting equal to his wifli; for 
 he gave his figures a good expreflion, and difpofed his draperies with a noble fimplicity. 
 In the hiftorical fubjecls which he defigned, he was remarkably correct ; and in all his 
 works he (hewed a very pleafing and commendable tone of colouring. 
 
 His own portrait, painted by himfelf, is honoured with a place in the famous Florentine 
 gallery; and in the collection of the French King, are ftill preferved the portraits of 
 Henry IV. and Mary de Medicis, by this matter. And in the church of the Abbey of 
 St. Martin, at Tournay, there is a Crucifixion, painted by Pourbus, which is very highly 
 commended. 
 
 Nicolo POUSSIN. 
 
 Painted Hijiory and Landfcapes. 
 
 DIED 1665, AGED 71. 
 
 This eminent painter was born in Normandy, at a fmall city called Andel or Andily, 
 in 1 594, and was at firft inftructed by y one Ferdinand Elle, a portrait-painter, for a few 
 months, but afterwards he fpent about a month with L' Allemant : yet finding both thofe 
 artifts incapable of inftrucling him, in a manner fuitable to thofe elevated ideas he had 
 conceived of the art, he applied himfelf to ftudy after the works of fuch matters as were 
 confefledly of the firft rank. By that means his improvement was fo confiderable, that it 
 procured him fome employment ; but as his utmoft ambition was to fee Rome, he haftened 
 as much as poflible to finifh a few paintings in which he was engaged, and immediately 
 travelled to Italy. 
 
 Sandrart fays, he began his ftudies at Rome in 1622, in the twenty-eighth year of his 
 age; and other very authentic writers affirm that his arrival at Rome was in 1624, when 
 he was thirty; but in that city he had many difficulties to contend with, by the death of 
 his principal friend the Qavaliere Marino. He applied himfelf, however, with redoubled 
 induftry to his ftudies, and copied feveral of the works of Titian, which for a time 
 improved his ftyle of colouring; and alfo attentively obferved the excellencies of Raphael 
 
 Uuu and 
 
POU 
 
 t 3 
 
 and Domenichino ; from whofe works, affifted by his tafte for the antique, he imbibed that 
 correct tafte of defign, and that truth of expreflion, which animate and adorn all his com- 
 pofitions. He indeed devoted almoft his whole attention to the antique ftatues, and bas* 
 reliefs, which appeared to him more worthy of curious and critical obfervation, than the 
 fineft efforts of modern genius in painting ; for he feemed' perfuaded, that every grace 
 and beauty of the human form was comprifed in thofe ancient fculptures which have 
 juftly been the admiration of the judicious in all fubfequent ages. 
 
 The firft fubjects he painted were bacchanalians, fatyrs and nymphs, which he. 
 introduced in his landfcapes, the ftories being principally taken from Ovid ; and he enriched 
 his fcenes with elegant buildings,, which he defigned after thofe magnificent edifices that, 
 are in Rome and its environs. But afterwards his fu.bjjects. were fometimes taken 
 from the facred hiftory, and oftener from the Greek and Roman ; in which he always 
 obferved the coftume ftridtly, with an equal degree of judgment and learning. As he had 
 been exceedingly ftruck with the works of Titian at his firft going to Rome, he endeavoured 
 to imitate his colouring but when once he gave, himfelf up to an enthufiaftic admiration 
 ©f Raphael and the antique, he altered his tone of colour entirely,. and, loft all that warmth 
 in his carnations, which appeared in his early productions. 
 
 His invention was as happy as it was lively, and he defigned with fpirit and correctnefs ; 
 though, he was not always happy in the difpofition of his figures, which too often were 
 diftributed in the fame line, by his want of ftudying the chiaro-fcuro as he ought. In- 
 perfpedtive and archi tecture he was perfectly accomplifhed ; which enabled him to give an 
 air of grandeur to his landfcapes, that captivates the moft judicious. The fcenes and 
 fituations of his landfcapes are excefftvely pleafing, and they receive a peculiar beauty,, 
 from the novelty of the objects he introduces, from the variety of his trees, buildings v and 
 Other ornamental incidents ; every part being lightly and delicately touched, and exhibiting 
 at once great truth, and equal j udgment. 
 
 By his fuperior fondnefs for the antique, the hiftoricaf compofitions of Pouflin are 
 very corre&, and the airs and attitudes of his figures are generally beautiful, though not 
 always graceful ; but, by his neglecting to ftudy nature with a proportionable attention, 
 his airs and attitudes want that variety, which perpetually entertains and delights us. 
 The colouring of Pouflin did not in any degree correfpond with his other powers in the 
 artj it is cold, feeble, and hard, and more fimilar to the marble of thofe antiques which he 
 rapturoufly admired, than to the carnations of nature, or the flefhy tmts of other- eminent 
 painters. And either from his being unacquainted with the true principles of colouring, 
 or defpifing the art of colouring in comparifon with defign, he feems never even to have 
 endeavoured to alter his ftyle in that refpect, though he could not but feel the force of the 
 colouring of Titian and Guido. 
 
 At his return to Rome from Paris, whither he had been honourably invited by 
 J^ewis XIII. he painted for the Prince Juftiniani an hiftorical pi&ure, reprefenting Herod's 
 Cruelty j an admirable compofition, in which he gave to every character fuqh an expreflion 
 
 as, 
 
\ 
 
 POU [ 523 ) pou 
 
 as could not but excite pity and terror in every beholder. And he afterwards finifhed 
 the celebrated pictures of the Seven Sacraments of the Romiih church, on which he 
 bellowed the labour of feveral years. Sandrart aflerts, that Pouflin painted thofe defigns 
 more than once, as there is one undoubted original fet of them at Rome, and another at 
 Paris. After perfecting that expenfive work, he defigned the applauded hiftory of Ger- 
 rnanicus dying, which is well-known to every lover of the art. 
 
 At St. Germain's the altar-piece, reprefenting theLaft Supper, is of the hand of Pouflin* 
 The defign is noble, the oompofition in the higheft degree accurate, the expreflion ftrong 
 and elegant, and the whole full of fpirit. In the gallery of the Prince della Torre, at 
 •Naples, are to be feen the Annunciation, and the Flight into Egypt, both of them excellent 
 for the compofition, expreflion, and beauty of defign, but in refpedr. of the colouring 
 defective, like his other works. None of the defigns of Poullin have been more univerfally 
 admired, than that of Germanicus ; and if he had never painted another picture, he would 
 have gained immortal honour by that alone. 
 
 He never engaged in grand works, but confined himfelf to eafel pi&ures, for which he 
 had a perpetual demand ; and his method was, to fix the price expected for each, on the 
 back of the picture, which was readily paid. 
 
 There is a remarkable difference in the performances of Nicolo Pouflin ; for many of 
 thofe which he executed in the declining years of his life, are much inferior to thofe 
 performed in his prime and middle period. The fame tafte, and the fame genius, appear 
 in all, but the handling difcovers an unfteadinefs that is not obfervable in his earlier works ; 
 as if he continued to paint when his hand was unequal to his genius. But upon the whole 
 he is allowed to have been an admirable artift ; and the immenfe price which his pictures 
 produce in every part of Europe, is an inconteftable proof of his eftablifhed merit. 
 
 Gaspar POUSSIN, or Dughet. 
 Painted Landfcape. 
 
 *DIED 1663, AGED 63. 
 
 He was born in France, in 1600, but was induced to travel to Rome, not only from 
 having a ftrong defire to vifit his fifter who was married to Nicolo Pouflin, but likewife 
 out of a love to the art of painting, for which he very early difcoVered an apt genius. 
 Sandrart fays, that Gafpar was employed at firft only to prepare the palette, pencils, and 
 colours for Nicolo ; but, by the inftructive precepts and excellent example of that eminent 
 mafter, he became fo great a proficient, that he gradually rofe into the higheft reputation. 
 
 Uuu 2 While 
 
 * Some authors fay, that'Gafpar Pouffin was born in 180c, and died in 1660, aged 60 j and the authors of the Abrege 
 de la Vie des Peintres differ from all other writers that I have confulted, placing the year of his birth in 1613, at Rome, 
 and not in France, and fixing his death in 1675, at the age of 62, twelve years later than other biographers. But perhaps 
 thofe gentlemen may have fome greater authority for their dates than the other writers, who affirm that he was born in 1600, 
 died in ^663, and at the age of 63. 
 
POU 
 
 C 524 ] 
 
 PRE 
 
 While he continued at Rome he changed his name, afluming that of his brother-in-law 
 and benefactor ; and he is known by no other name at this day, than that of Gafpar Pouffin» 
 Undoubtedly he is one of the moft celebrated painters of landfcape that ever appeared ; 
 and it is generally thought, no painter ever ftudied nature to better purpofe, or reprefented 
 the effects of land-florins more happily than Gafpar j every tree ftiews a proper and 
 natural degree of agitation, every leaf is in motion. His fcenes are always beautifully 
 chofen, as alfo are the fites of his buildings ; and thofe buildings have a pleafing 
 effect, by a mixture of fimplicity and elegance. His diflances recede from the eye with 
 abundance of perfpective beauty; his grounds are charmingly broken ; and his figures, trees, 
 and other objects, are fo judicioufly placed, and proportioned to the diftance, as to create 
 a moft agreeable deception. He had a free and delicate manner of penciling, and was 
 exceedingly expeditious in his work ; for his imagination was fcarcely more ready to invent 
 than his hand was to execute j and it is confidently reported by authentic writers, that he 
 flnimed a large landfcape, and inferted all the requifite figures, within the compafs of 
 one day. 
 
 By fome connoiffeurs it had been obferved, that the pictures of Gafpar have fometimes 
 too great a verdure; that his mafles are often too much of one colour ; and that frequently 
 there is too much blacknefs in the fore-grounds of fome of his compofitions ; but, notwith- 
 ftanding the imputation of fuch fmall imperfections, his paintings are always truly beautiful. 
 
 Gafpar had three manners in his paintings, which are diftinguifhable without any great 
 nicety. The firft was rather dry ; and the laft, though agreeable, was unequal to thofe of 
 his middle time. But his fecond manner was, by many degrees, his beft, as it was more 
 fimple, and more learne"d ; and his colouring appeared fo lovely, fo frefh, fo full of truth 
 and nature, that no eye can behold one of his landfcapes of that period, without feeling 
 a rapturous degree of admiration. 
 
 He defigned human figures but very indifferently, and for that reafon he frequently 
 prevailed on Nicolo to paint them for him ; and they were always introduced with the 
 utmoft propriety and judgment. No commendation can be beftowed on the works of 
 Gafpar, that can feem fuperior to their defert ; and the exceeding great prices they afford, 
 fhew that they are defervedly admired in every nation, where the art of painting is either 
 cultivated or underftood. 
 
 Chevalier Mattia PRETI, called Calabrese. 
 
 Painted Hi/lory. 
 
 DIED 1699, AGED 86. 
 
 He was born in Calabria, in *i6i3, but ftudied at Rome, and principally attended to the 
 antique ftatues, and the works of Raphael, Buonaroti, and Annibal Caracci. By that 
 
 means 
 
 * The authors of the Abrege de la Vie deslVintres in 4*0. vol. 1, p. 347, fay, that Preti was born in 1643, and died in 
 1699, which makes him but 56 at his death; and yet they fay he died at 86 years of age, which muft be an overfight. 
 They fay alfo that he was a difciple of Lanfranc, though other authors affirm that he was the difciple of Gucrcino. 
 
PRE 
 
 C 525 ] 
 
 P R I 
 
 means having acquired a good tafte of defign, he placed himfelf as a difciple in the fchool 
 of Guercino, where he learned a firm manner of colouring, and a remarkable freedom of 
 pencil. But being ftill ambitious of gaining improvement, he travelled through Venice, 
 Bologna, Parma, Milan, and Genoa, to obferve the works of the moft celebrated painters 
 which are preferved in thofe cities; and he afterwards vifited Rubens, to obtain the 
 advantage of his converfation. By that method of ftudy, he qualified himfelf to appear 
 with all poffible honour in his profeffion, and his paintings were exceedingly prized and 
 coveted. . , 
 
 Calabrefe had a ready and rich invention, his ftyle of compofition was grand, his 
 manner of colouring bold and full of force, and his management of the chiaro-fcuro was 
 equal to that of his mafter Guercino, by which his pictures had a great effect; yet fre- 
 quently he was incorrect, and not only wanted grace but elegance of choice. 
 
 The academy of St. Luke, at Rome, having appointed the Triumph of Ofiris the 
 Conqueror of Egypt, as a fubjeft for an hiftorical pifture, and propofed a confiderable 
 premium for the beft performance j the fuperiority was adjudged to Preti, though feveral 
 of his cotemporaries, who were competitors for the prize, were of the firft rank among 
 the artifts. 
 
 In the Palazzo Zambeccari, at Bologna, is to be feen the figure of Homer, a half- 
 length as large as life. It is painted in his ufual ftrong manner ; the head and hands are 
 beautiful and excellent, but the fhadows are too black, and the colouring is rather bluifhr 
 And in the Palazzo Ratta, at Bologna, there is a picture by this matter, reprefenting 
 fome Saint coming out of a tomb, which is compofed in the ftyle and tafte of Paolo 
 Veronefe, and admirably executed. The fhadows of the principal figure are indeed fome- 
 what too dark, according to his general manner; but altogether the colouring has a fine 
 effect, and the defign is agreeable. 
 
 Francesco PRIMATICCIO? 
 
 Painted Hijlory. 
 
 DIED I57O, AGED 80. 
 
 He was born at Bologna, in 1490, of a noble family, and in his youth was intended 
 to be bred up to commercial bufmefs; but having too elevated a mind to adapt himfelf to 
 that occupation, and prompted by his natural genius, he began to learn defign and 
 Colouring from Innocenzio da Imola, and Bagna Cavallo; and in a fhort time was 
 enabled, by his inceflant induftry, to give manifeft proofs of extraordinary talents. He 
 then quitted his native city, and went to Mantua, where he became a difciple of Julio 
 Romano, who at that time was engaged in feveral grand works at the palace of the Duke, 
 being affifted by a number of young artifts, who had received their inftruction in his 
 fchool. Primaticcio continued under the direction of Julio for fix years, and, by inde- 
 fatigable application to his profeffion, acquired an excellent knowledge of colouring, and 
 
 2 a fine 
 
P R I 
 
 C 5^6 ] 
 
 P R O 
 
 u fine tafte of compofition. He worked in frefco, as well as in oil, in fo diftinguifhed a 
 manner, that he was accounted fuperior to the beft of his fellow-difciples, both in 
 colouring and defign. 
 
 Primaticcio effectually eftablifhed himfelf in the favour of the Duke of Mantua, by 
 his performances in one of the grand apartments of his palace ; and on that account he 
 was recommended in the ftrongeft terms by that Prince to Francis the King of France, 
 who took him immediately into his fervice, and appointed him to execute a great number 
 of defigns in frefco and in oil. This artift was not lefs fortunate and fuccefsful'with the 
 King than he had been with the Duke ; his works were approved and admired, and he 
 adorned Fontainbleau, and moft of the royal palaces in France, with his compofitions. 
 
 At the fame time that Primaticcio was engaged by Francis, RolTo was alfo retained and 
 employed at his Court, between which two painters a violent rivalfhip and jealoufy 
 iubfifted; and it was thought that the King, who was defirous to quiet their diltention, 
 lent the former to Rome to purchafe antiques, as that Monarch had conceived the higheft 
 opinion of the tafte and integrity of Primaticcio. That artift acquitted himfelf of his 
 commiftion very happily, and in a very fhort time collected a * hundred and twenty-five 
 ftatues, bufts, and mutilated figures ; and procured moulds of the moft celebrated ftatues, 
 which were not to be purchafed,' fuch as the Laocoon, the Tiber and Nile, the Venus 1 , 
 Commodus, and Cleopatra; and from thofe moulds Barozzi caft ftatues inbrafs, fo exqui- 
 fitely finifhed, that the beauty of the originals is admirably preferved in the copies. 
 
 He was recalled from Rome, to perfect a large gallery begun by Roflb, but left 
 unfinifhed by the death of that mafter ; and the King, to exprefs his efteem for Prima- 
 ticcio, and his public approbation of the merit of that eminent mafter, conferred on him 
 the abbey of St. Martin at Troyes, which he enjoyed as long as he lived. 
 
 He compofed well, and was accounted the beft defigner in the fchool of Julio Romano. 
 His attitudes were well underftood, and in thofe he feemed to imitate the ftyle of Parmi- 
 giano. His touch was light, and his colouring lively; yet his pictures are not, in many 
 parts, equal to what could be either wiflied or expected. That expeditious manner which 
 he purfued, occafioned him to neglect feveral very effential articles, fuch as correctnefs 
 and nature, which always makes him appear a mannerift. 
 
 Camillo PROCACCINI. 
 
 Painted Hi/lory. 
 
 DIED 1626, AGED 80. 
 
 He was born at Bologna, in 1546, and proved a very eminent artift, though his works 
 are almoft equally remarkable for their excellencies and defects. He followed the 
 
 guidance 
 
 • Dc Piles makes the number of ftatues brought into France by Primaticcio a hundred and fourfcore, befides the bufts j 
 but Vafrri fays he brought from Rome into France only a hundred and tw enty-five, and according to Sandrart not above 
 one hundred and twenty -four. 
 
PRO 
 
 C 5*7 3 
 
 PRO 
 
 guidance of his own genius, without fufficiently applying himfelf to the ftudy of nature } 
 and by that means deprived himfelf of the ability to reprefent his objects with correetnefs 
 and truth.' 
 
 The limbs of his figures are frequently too long, efpecially the legs and arms ; the 
 feet and hands are as often too big for the proportion of the body ; and by injudicioufly 
 defigning fome of his figures of too large a fize, the others look diminifhed, and appear 
 too fmall. But, when he allowed himfelf time to revife his work, and ftudy it with pro- 
 per care, he was capable of drawing correctly ; and his pictures, when attentively exe- 
 cuted, were well efteemed, and feemed as different from thofe which were negligently 
 performed, as if they had not been the work of the fame hand. 
 
 Camillo had a ready genius, a ftrong manner of colouring, and an extraordinary 
 power of the pencil and freedom of hand j his draperies were caft in a noble tafte, the 
 airs of his heads were elegant, and his beft works generally fhewed a good expreffion i 
 fo that, in many refpecls, he was accounted equal to Ludovico Caracci. 
 
 There is a Laft Supper by this mafter, on. the infide of the facade of the cathedral 
 church at Genoa, which is in a grand ftyle of painting. The figures are confiderably 
 larger than life, and their fize adds a majefty to the compofition. It is remarkable for a 
 happy invention, and for having greater beauty in the difpofition, than appears either in 
 the works of his father Ercole, or his brother Julio Carfare. The figures in this picture 
 are much more correct than he generally defigned them; and his ftyle is always great; 
 the fpirit and invention in his works fcarce leave a fpectator room to dwell on the want 
 of lefTer perfections. In a chapel belonging to the church of St. Dominic, at Genoa, is 
 to be feen a noble picture of the Circumcifion of Chrift, painted by Procaccini. The 
 compofition is truly grand, the defign and difpofition are extremely good, the heads of 
 the figures are in a fine tafte, though the form of the Virgin cannot be called beautiful y 
 and the colouring is bold, producing an excellent effect. This picture is by fome 
 afcribed to Julio, but by moft to Camillo. 
 
 Julio Cjesare PROCACCINI. 
 
 Painted Hijlory, 
 
 DIED 1626, AGED 78. 
 
 He was a younger brother to Camillo, born at Bologna, in 1548, and at firft was 
 inftrudted in the art of painting by his father Ercole; but he very foon quitted his 
 manner, and devoted himfelf entirely to the direction of the Caracci, and under thofe 
 accomplifhed matters the progrefs he made was furprifingly rapid. 
 
 He became the beft artift of the family of Procaccini, and was far fuperior to his 
 brother Camillo, not only in the ftrength and boldnefs of his figures, but alfo in the 
 purity and correftnefs of his outlines. He ftudied Titian, Raphael, Tintoretto, Correggio,, 
 
 5 an4 
 
PRO 
 
 C 528 ] 
 
 PRO 
 
 and the Caraccij and his ftyle, which feemed an agreeable mixture of them all, appeared 
 natural, true, and very pieafing, and his colouring was excellent. His diftinguifhed 
 merit and mo'defty recommended him to the favour of perfons of the higheft ' rank, by 
 whom his friendmip was eagerly courted ; and his houfe at Milan was frequented by 
 the nobility, and all the virtuofi in that city. 
 
 Many of the works of this mafter are prefer ved in the churches and palaces of Genoa, 
 Milan, Venice, and other cities of Italy. At Genoa, in the church L'Annonciata, is a 
 Laft Supper, finely executed, defigned in a grand ftyle, and coloured with great force 
 and beauty. In the Palazzo Durazzo is a lovely picture, reprefenting the Woman 
 taken in Adultery, defigned in an exceeding grand tafte, and wonderfully well coloured. 
 And in the Palazzo Caregha, in the fame city, is a picture of the Virgin and Child, 
 which in refpect of its beautiful defign and colouring is truly admirable. 
 
 ' Carlo Antonio P R O C A C C I N I. 
 
 Painted Fruit, Landscapes, and Flowers. 
 
 He was brother to Julio and Camillo, born-at Bologna, and learned the art of painting 
 from his father. He defigned landscapes agreeably, and gained a confiderable reputation 
 by his pictures in that ftyle, and alfo by the fruit and flowers which he copied after nature. 
 He had a very good underftanding of the harmony of colours ; but never had either 
 genius or invention, fufficient to enable him to arrive at the eminence of his brothers 
 in hiftorical compofition j for which reafon, he difcreetly declined that ftyle of painting, 
 and chofe other fubjects, which were better adapted to his talents. 
 
 Ercole PROCACCINI, called the Young, ' 
 Painted Land/cape, Hijiory and Flowers* 
 
 DIED 1676, AGED So. 
 
 He was born at Milan, in 1596, the fon of Carlo Antonio, and was a difciple of his 
 uncle Julio Caefare. Though he frequently painted hiftory and landfcape, yet his 
 greateft excellence appeared in his flower-pieces, as he painted thofe fubjects to great 
 perfection ; and for one of his performances in that ftyle, he was honoured with a chain 
 of j^old, as a public acknowledgement of his extraordinary merit. 
 
 Marcexlo PROVENZALE, da Cento. 
 
 Painted Hi/lory, Portrait, and Mofaic* 
 
 DIED 1639, AGED 64. 
 
 He was born in 1575) was a difciple of Paolo Rofetti, and became very eminent as a 
 painter of hiftory and portrait ; but his fuperior merit conftfted in mo&ic, which he exe- 
 cuted with aftoniftiing beauty and exquifite neatnefs. 
 
 In 
 
PUG 
 
 £ 5^9 ] 
 
 P U h 
 
 In the palace of Cardinal Borghefe at Rome, there is a portrait of Pope Paul V. in 
 mofaic, by this mailer, which is wrought with inimitable art and judgment. It is 
 worked in imitation of the mofaic of the ancients; but it is fuch an imitation as excels 
 all that can be feen of the originals. The face alone confifts of more than two millions 
 of pieces, many of them being of no larger dimenfion than a grain of fand; and it is 
 molt defervedly efteemed one of the greateft curiofities in Rome. 
 
 Peter Paul P U G E T. 
 Painted Hi/tory. 
 
 DIED 1695, AGED J2. 
 
 This artift was born at Marfeilles, in 1623, and is accounted one of the beft mailers 
 among the French. He was extremely famous as a fculptor and architect, and equally 
 excelled in painting ; for although he devoted the greateft portion of his time to the two 
 former arts, yet at particular times he applied himfelf to the latter. 
 
 His ftyle of defign and colouring refembled the manner of Mich. Ang. Buonaroti; 
 but he was more natural and more delicate; and thofe pictures which are of this mailer's 
 hand, are much valued and admired in France. In the cathedral church at Aix there is 
 an altar-piece painted by Puget, reprefenting the Annunciation, in which the defign is 
 correct, and there appears an eafe in the call of the draperies ; a bold relief, with con- 
 fiderable grace, in the figures ; and a good expreflion in their countenances. Alfo, at the 
 Jacobins, in Toulon, is a picture of the fame fubjedt, but much in the talle of Pietro da 
 Cortona j and though the effect is but weak, yet the colouring is agreeable. 
 
 Domenico PULIGO, or PUGLIO. 
 
 » 
 
 Painted Hi/lory* 
 DIED I527, AGED 52. 
 
 He was born at Florence, in 1475, and was a difciple of Ghirlandaioj in whofe 
 fchool being emulous to furpafs his companions, it excited in him fuch a fpirit of induftry 
 and application, that he not only became fuperior to them all, but was efteemed to be at 
 leall on an equality with his mailer. He had the happinefs of a moll llrict intimacy with 
 Andrea del Sar.to, by which he was greatly improved, and might have reaped much more 
 abundant advantage from that friendly connexion, if his love of pleafure had not ren- 
 dered him neceflitous, and if, to fupply his demands, he had not painted more for imme- 
 diate gain, than with any profpect of advancing his reputation. 
 
 He had a commendable talle of compofition and defign, and was very excellent in his 
 colouring. His principal talent lay in painting portraits and Madonna's, which he exe- 
 
 X x x ^uted 
 
PUN 
 
 f 53^ 3 
 
 cuted with extraordinary applaufe j but he alfo painted hiftorical fubjecls, by which, he 
 obtaine'd great credit ; and among the number, are particularly mentioned a Defcent from 
 the Crofs, a Lucretia, and a dying Cleopatra, 
 
 Giacomo Carucci da PUNT ORMOi. 
 Palnted Hi/iory and Portrait* 
 
 *DJED I558> AGED 65. 
 
 He was born at Puntormo, In 1493, and at thirteen years of age was fent to Florence, 
 where he became a difciple of Lionardo da Vinci, He afterwards ftudied under Mariotto 
 Albertinelli, and Pietro Cofimo, till he was near nineteen ; and then completed his 
 ftudies in the fchool of Andrea del Sarto. His earlieft performance was a picture of the 
 Annunciation, which he painted for fome perfon in Florence, while he was under the care 
 of Albertinelli; but the. perfon for whom it was painted, dying before it was finifhed, 
 Albertinelli mewed it, for the honour of the young artift, to all the men of genius who 
 frequented his houfe ; and among the number mewed it to Raphael, who commended it 
 exceflively, and foretold the future eminence of Puntormo, from that fpecimen of his 
 abilities* Nor was he lefs commended by Mich. Ang. Buoaaroti, who, on feeing fome 
 of the works of Puntormo in frefco, before he was arrived at the age of twenty, faid 
 publicly, that fuch a genius, at fuch years, would carry the art of painting to its higheft 
 pitch. By which difinterefted approbation of thofe illuftrious artifts, Puntormo was fo 
 animated, that he exerted all his powers to arrive at perfection in his art. His tafte of 
 defign was grand, and his colouring excellent ; he had a ready invention, and confiderable 
 elegance , but his compofitions were not without fome degree of drynefs. 
 
 His laft mafter, Andrea del Sarto, foon difcovered the great talents of his pupil, and 
 made ufe of his afliftance in many of his grand undertakings ; and yet, on feeing after- 
 wards fome extraordinary proofs of his excellent tafte of defign and colouring in one of 
 his compofitions, even that great man appeared to be envious of his merit, and to dread 
 In his difciple, an artift fuperior to himfelf. 
 
 However, Puntormo had a very different manner of thinking and acting; he laboured 
 to excel j but neither envied nor depreciated his competitors, or their works. He was 
 naturally too diffident of his own abilities, and was often in danger of lofing his own 
 graceful manner, by imitating others who were in many refpects his inferiors. For, at 
 the time when the prints and paintings of Albert Durer were extremely noticed and 
 applauded at Florence, Puntormo determined to imitate that manner, only blending the 
 German with the more refined gufto of the Italian fchool ; and he would have deftroyed 
 his own tafte, which was infinitely preferable to that of Albert, if he had not at laft been 
 
 diffuaded 
 
 r * According to Vafari he was born in I493> and died in 1558, aged 65 ; but De Piles and the authors of the Abrege 
 tie laVie des Peintres fix his birth in the fame year, and his death in 1556; at the age of 63. 
 
TP U N 
 
 C 531 J 
 
 P Y N 
 
 (iiiTuaded from a conduct fo very injudicious j and thofe pictures which he painted, after 
 his attachment to the ftyle of Albert, are accounted lefs eftimable than thofe of his 
 earlier time. 
 
 He defigned and coloured almoft entirely in the ftyle of his mafter Andrea del Sarto, 
 and compofed his fubjects with fufficient readinefs ; but he might have been more expe- 
 ditious, and perhaps much more commendable, if he had taken lefs pains to alter and 
 improve, as well as to finiih his works. He certainly had the idea of perfection in his 
 mind, fo that he could never prevail on himfelf to believe any of his performances- 
 complete, even whilft they were highly applauded by others; and from that principle, he 
 would have defaced feveral of his paintings, out of a delire to improve them, if he had 
 not been prevented and compelled to defift. He painted equally well in frefco and in oil, 
 and was full as famous for painting portraits as he was for painting hiftory. 
 
 Puntormo had one peculiar turn of mind, which was, that he frequently chofe to 
 employ his pencil for the middling clafs of people, who could afford to give him but a 
 moderate price for his pictures, rather than paint for the nobility, and perfons of high 
 rank, who would gladly have given him whatever he pleafed to demand. 
 
 The laft work of this mafter was in the chapel of St. Lawrence at Florence, which he 
 undertook at the requeft of the Grand Duke ; and in that work he propofed to furpafs all 
 his predeceflbrs and cotemporaries. His fubjects were, the Hiftory of Adam and Eve, 
 the Death of Abel, the Deluge, Noah leaving the Ark, the Refurrection, and Final 
 Judgment ; and after he had fpent eleven years on that grand compofition, it appeared to 
 be far inferior to his other productions, while he laboured to furpafs the beft in his pro- 
 feffion. It was by many perfons thought, that he died of grief for being fo unfuccefsful ; 
 but the real caufe of his death was an incurable dropfy. 
 
 The moft celebrated paintings of Puntormo were, a St. Cecilia, the Vifitation of the 
 Virgin, the Refurrection of Lazarus, and the Hiftory of Jofeph receiving his father 
 Jacob and his family in Egypt; which laft compofition, for the defign, colouring, and 
 ipirit, was generally accounted the mafter-piece of Puntormo. There is alfo an altar- 
 piece, which is one of his moft capital performances ; it reprefents the Holy Family, in 
 which the Virgin is defcribed fitting, and prefenting to Jofeph the young Saviour, who 
 is diftinguiflied by fuch an expreflive, amiable fmile, as conciliates love, admiration, and 
 reverence beyond defcription. 
 
 Adam PYNAKER, 
 
 Painted Landscape. 
 DIED 1673, AGED 52. 
 
 He was born at the village of Pynaker, between Schiedam and Delft, in 162 1, and 
 always retained the name of the place of his nativity. He went for his improvement to 
 
 X x x 2 Rome, 
 
P Y N 
 
 f 53* 3 
 
 Q.U A 
 
 Rome, where he ftudied for three years, and chofe the works of the great matters for his 
 models j and he alfo ftudied after nature thofe beautiful fcenes, ruins, views, and build- 
 ings, which adorn that country. 
 
 By a happy application of his time and talents, while he continued in Italy, he returned 
 to his own country an accompliftied painter, and his works rofe into the higheft efteem^ 
 He had a judicious method of diftributing his lights and fhadows, and he managed them 
 in his compofitions in fuch a manner as to pleafe and relieve the eye, by their agreeable 
 oppofitions. His fmall pictures are far preferable to thofe which he painted in a larger 
 fize ; and they are admitted to a place in the cabinets of the curious, among the paintings 
 of the greateft matters. He was generally fond of [a ftrong morning light, which 
 allowed him to give a more lively verdure to his trees. His diftances die away by- 
 proper breakings of the ground, diverfified with hills and valleys, extending the view as 
 far as the eye can be fuppofed to reach j and his landfcapes are ufually enriched with ele- 
 gant ruins, or pieces of architecture, as likewife with figures well defigned, and extremely 
 well adapted to his fubjects and fituations. 
 
 Ludovico Q_ U A I N I. I 
 
 Painted Hijiory and Landfcape. 
 
 DIED I717, AGED 74. 
 
 He was born at Bologna, in 1643, and Was inftru&ed in the rudiments of the art by 
 his father ; but being related to the celebrated Carlo Cignani, he became his difciple, and, 
 by the excellent precepts of that great matter, his improvement was fo extraordinary, that 
 in a few years he was employed by Carlo as an affiftant, in painting fome of thofe grand 
 defigns in which he was employed. And it reflected the utmoft honour poffible on 
 Quaini, that his work was not be diftinguifhed from that of his matter. 
 
 Francefchini and Quaini were at the fame time difciples of Cignani j and their manner 
 of handling and colouring was fo fimilar, as to make it difficult to determine, which was* 
 the work of the one or of the other. In the chief defigns of Cignani, the landfcape, 
 architecture, and other ornaments, were painted by Quaini, as he underftood thofe parti- 
 culars even better than his matter ; but Francefchini was principally employed about 
 the figures, in which confifted his greateft excellence. Cignani infpe&ed, guided, and 
 dire&ed the whole i he allowed the merit of both, and encouraged thofe young artifts by 
 
 juft 
 
au e 
 
 f 533 3 
 
 QUE 
 
 jtift commendations ; but in refpect to the carnations, and the graceful airs of the heads, 
 he feemed to prefer the tafte of Francefchini to that of Quaini. 
 
 The livelinefs of his imagination enabled him to compofe his fubj edts with great eafe, 
 and with an elegance of tafte ; and thofe paintings which were entirely the product of 
 his own invention, and finifhed by himfelf, were excellent performances. Several of 
 thofe are mentioned with great honour to Quaini ; and it is obferved, that although they 
 had not all the force of thofe that were defigned by Cignani, and painted under his 
 immediate infpection, yet they had more beauty and more grace. 
 
 Erasmus <£U E L L I N U S the Old, 
 Painted Hijiory and Landfcape. 
 
 DIED 1678, AGED 7 P. 
 
 He was born at Antwerp, in 1607, and at firft was educated in every branch of polite- 
 literature j but afterwards finding in himfelf a predominant inclination to painting,he placed 
 himfelf as a difciple with Rubens. He foon fhewed that he poflefTed an excellent genius j 
 fo that in a few years of application, under fo eminent a director, he appeared with 
 honour in his profeflion. He ftudied architecture and perfpective, and employed his 
 knowledge of thofe branches very fuccefsfully in all his future cOmpofitions ; and his 
 works gradually rofe into fuch reputation, that he found conftant employment, and by 
 that means his credit daily increafed, and his circumftances became affluent. 
 
 His manner of defigning was good, his touch free and fpirited, and the beauty of his 
 colouring fufficiently fhewed the fchool in which he imbibed his knowledge. He painted 
 landfcape, as well as hiftory, in a very agreeable ftyle ; and his great, as well as his 
 fmall compofitions, are allowed to have abundance of merit; but in the latter his penciling 
 was more neat, and his colouring more tranfparent. His tafte of defign, though con- 
 fiderably tainted with the Flemifh gufto, is tolerably correct ; and in many refpects his 
 ideas are juft, learned, and elevated, though his drawing is often not exact. 
 
 A celebrated picture of this mafter is in the grand dining apartment at Antwerp, of 
 which the fubject is, Chrift in the houfe of the Pharifee, where Mary Magdalen wafhes 
 his feet; and in that compofition he has fhewn a fine difpofition, good penciling, and & 
 very pleafing tone of colour. 
 
 John Erasmus QUELLINUS, called the Young, 
 Painted Hijiory* 
 DIED 17 15, AGED 85. 
 
 He was the fon and difciple of Erafmus, born at Antwerp, in 1630 j and being 
 inftructed in the fame principles of the art, which his father had derived from the fchool of 
 Rubens, his proficiency was very remarkable. He had heard his father often regret that 
 
 he 
 
C 534 3 
 
 Q_U E 
 
 he never had been at Rome j and therefore, as foon as he expreffed an eager defire to vifit 
 Italy, he found his father ready to concur with his inclination, and thoroughly pleafed with 
 the propofal. 
 
 He travelled through moll parts of Italy, and having a very happy genius, he took 
 pains to improve it by ftuying after the beft models ; till at laft, by clofe application, he 
 perfected his tafte, judgment, and execution, fo effectually, that he was employed for 
 feveral grand works at Rome, Venice, Florence, and Naples, which fpread his repu- 
 tation abroad, and extended it alfo to his own country. 
 
 As Erafmus felt a fenfible delight, by the accounts he received of his fon's performances 
 in Italy, he wifhed him to return i that he might be an eye-witnefs of his merit, and 
 have the happinefs of feeing his works. Young Quellinus obeyed, and, on his arrival 
 at Antwerp, found as much employment for the decoration of the churches and convents, 
 as he could poflibly, execute; and maintained that high character at home, which had fo 
 very defervedly been given him abroad. 
 
 This mafter is accounted one of the beft of the Flemifh painters, next to Rubens and 
 Vandyck } fome of his pictures having been compared to thofe of Paolo Veronefe. Nor 
 is it to be much wondered at, if it be confidered that he particularly ftudied the manner 
 of that mafter, and all his grand compofitions are in imitation of the ftyle of Veronefe. 
 
 His defign was correct, his draperies were large, noble, and flowing ; and his back- 
 grounds, to which he feemed to have a peculiar attention, were enriched, like thofe of 
 Veronefe, with obelifks, monuments, or magnificent architecture. His figures are difpofed 
 with propriety and judgment; his expreffion is lively; and his colouring agreeably 
 heightened, by a fine effect of the chiaro-fcuro. Many of his works are improperly 
 afcribed to the old Quellinus, though whoever obferves the works of both artifts cannot 
 but perceive at firft fight, that the fon was far fuperior to the father, as well in the tafte 
 of defign, and the difpofition of his fubjects, as in the correctnefs of his figures, and 
 the elegance of their forms. 
 
 His moft capital painting is in the church of the abbey of St. Michael at Antwerp. 
 The figures are as large as life, and the fubject is, Chrift healing the Difeafed. It is a 
 large, or rather a vaft compofition; and is fo much in the ftyle of Veronefe, that it might, 
 without deducting from the merit of that mafter, be afcribed to him. The ornamental 
 architecture is admirable ; there appears a wonderful variety of objects to entertain the 
 eye; and although the compofition confifts of a prodigious number of figures, yet the 
 whole look* without the fmalleft confufion. 
 
E A C 
 
 C 535 J 
 
 RAD 
 
 R. 
 
 Bernardo RACCHETTI* 
 
 Painted Architecture* 
 DIED I702, AGED 63. 
 
 IEIe was the nephew and difciple of the celebrated Giovanni Ghifolfi, born in 1639, 
 and was inftructed in the beft principles of the art by his uncle, who took all poffible 
 care to guide him in that method which was moll likely to render him eminent. 
 
 For a conliderable time he ftudied perfpective and architecture ; and at laft painted 
 extremely well, in the ftyle and manner of his mafter. He diftinguifhed himfelf 
 exceedingly, above all his cotemporaries, by the elegance of his compofitions, by the fuperb 
 architecture he painted generally, and by the pleafing deception occafioned by the truth 
 of his perfpective, and his artful management of the chiaro-fcuro. 
 
 He lived in the higheft efteem at Milan, where a great number of his works are to be 
 feen, which are very little inferior to thofe of of Ghifolfi's own hand j and feveral of the , 
 works of one artift are taken for the work of the other- 
 
 Gerard RADE MAKER. 
 
 Painted Hijiory and Architecture* 
 
 DIED I7II, AGED 38. 
 
 He was born at Amfterdam, in 1673, and learned the principles of perfpective and 
 architecture from his father, who was much efteemed by Laireffe, and other artifts, for 
 his knowledge in that branch. But the mafter under whom he learned the art of painting 
 was one Van Goor, with whom he accidentally happened to be acquainted ; and while he 
 continued with that mafter, he applied himfelf to his ftudies with invincible patience and 
 perfeverance. 
 
 At his firft fetting out in his profeflion, he had the good fortune to be engaged by the 
 Bifhop of Sebafto, to inftruct his niece in drawing and defign ; and by his agreeable 
 conduct, he fo won the efteem of that Prelate, that he was taken in his train to Rome, 
 where he fpent three years in ftudying every thing that could contribute to his improve- 
 ment. At his return to his own country, his extraordinary merit procured him friends, 
 favour, and employment j his work was eagerly purchafed by perfons of the firft rank; 
 he was engaged in feveral conliderable undertakings; and the richnefs of his genius, as 
 well as the facility with which he worked, enabled him to finifh abundance of defigns in 
 a fliort compafs of time, . 
 
 5 He 
 
R A D I 536 3 RAI 
 
 He is efteemed one of the good mafters of the Dutch fchool ; and his ftyle of compofition 
 ihews not only the extenfivenefs and grandeur of his genius, but fhews alfo a genius 
 well cultivated, by ftudying the beft models* In architecture and perfpective few of his 
 cotemporaries were his equals ; and a perfpective view of St. Peter's church at Rome, 
 which he painted, is accounted a mafter-piece, as well for the. handling, as for the truth 
 and exactnefs of the defign. Another picture by this mafter, is likewife mentioned as 
 a fine performance. The fubject is hiftorical ; and as he was generally fond of introducing 
 bas-relief, and emboffed work, in moft of his compofitions, he has enriched this with 
 a variety of thofe ornaments, which are reprefented with fingular fkill and art, as alfo 
 with a great deal of truth and elegance. 
 
 Abraham RADEMAKER. 
 
 Painted Landfcapes^ and Views of Towns in Holland. 
 
 DIED 1735? AGED 60. 
 
 He was born at Amfterdam, in 1675, and is an uncommon inftance of an artift who 
 arrived at great eminence in his profeflion, without the afiiftance of any mafter. At firfl 
 he fpent whole days and nights in drawing and copying with Indian ink, till he arrived at 
 great perfection in that manner of painting ; and he alfo pradtifed to paint with water- 
 colours, which he managed with full as much freedom of touch, as if he had painted in oil, 
 to the furprife, as well as the approbation of all the artifts of that time. 
 
 His invention was remarkably fertile, and he was never at a lofs to furnifh an endlefs 
 i^ariety of fcenes and fubjects, from the power of his own active imagination, without 
 having recourfe to nature for the iites of his landfcapes. He compofed readily and agree- 
 ably j and filled his landfcapes with fuitable figures and animals, which were well defigned 
 and well grouped. And as he had applied himfelf, for fome time, to the ftudy of archi- 
 tecture and perfpective, he ufually adorned his defigns with elegant ruins, or the veftiges 
 of ancient edifices. His colouring is bright, ftrong, and of a very pleafing tone, which 
 compenfates for the appearance of a little drynefs, obfervable in his larger works j which 
 defect, it is fuppofed, he contracted by his general habit of working in fmall. 
 
 He went to refide at Haerlem, where he was admitted into the fociety of artifts; but 
 unhappily, while he was intent on his work, a number of illiterate peafants afTaulted his 
 houfe, being unaccountably perfuaded that he was contriving fome fcheme againft their 
 religion, and with difficulty he efcaped out of their hands ; but the terror he endured from 
 that incident, never ceafed to prey upon his fpirits, till it brought him to his end. 
 
 A great number of this mafter's drawings, limnings, and defigns, in water-colours and 
 Jndian ink, are to be feen frequently in the collections of the curious, which are much 
 valued for the neatnefs and delicacy with which they are finifhed. 
 
 RAIBOLINI. Vid. Francesco Francia. 
 
 2 
 
 Padre 
 
K AM 
 
 t 537 } 
 
 RAP 
 
 Padre Felice RAMELLI. 
 
 Painted Portrait^ and Hijiory^ in Miniature, 
 
 DIED I74O, AGED 74. 
 
 He was born at Afti, in 1666, and learned the art of painting from Padre Abbate 
 Danefe, but finiflied his ftudies at Rome, where he became an ecclefiaftic, and was one of 
 the canons in the church of St. John Lateran. He was truly excellent in his art, and 
 painted hiftory and portrait with equal delicacy in miniature. He was invited by the 
 King of Sardinia to Turin, and painted for that Monarch the portraits of the moft celebrated 
 mafters In fmall, from originals done by thofe mafters themfelves ; for which purpofe, he 
 copied fome, after their portraits in the famous Florentine gallery, and he alfo painted 
 feveral hiftorical compofitions. 
 
 He finiflied his pictures with incredible neatnefs and delicacy, and in a fmall compafs 
 gave every portrait the look of real nature and life. Thofe curious works of Ramelli are 
 preferved in the cabinet of miniatures, in the King of Sardinia's palace at Turin ; and 
 among the heads of the artifts, he has taken care to perpetuate his own, which he has 
 reprefented in the habit of his order. His ftyle of painting is exquifitely beautiful, and his 
 colouring uncommonly natural and lively. Moft of the performances of Ramelli are at 
 Rome, the ufual place of his refidence, and they are held in the higheft eftimation by 
 the curious. * * y 
 
 John RAOUX. 
 
 Painted Hijiory and Portrait, 
 
 DIED 1734, AGED 57. 
 
 He was born at Montpelier, in 1677, ana was the difciple of Bon Boullongne; but he 
 ftudied at Rome and Venice for ten years, where he acquired a good manner of colouring, 
 and followed his profeflion in feveral parts of Italy, with great credit. He painted hiftorical 
 fubjecls and portraits ; and when he quitted Italy, he refided for fome time in England, 
 where he was particularly employed by Sir Andrew Fontaine i and his paintings were in 
 confiderable efteem. The principal work of this mafter, in France, was the reprefentation 
 of the different ages of man, comprifed in four pictures, which he painted for the Grand 
 Prior of Vendome, and they are ftill preferved in the palace of that nobleman. 
 
 RAPHAEL SANTIO, da Urbino. 
 Painted Hijiory and Portrait, 
 
 DIED 1520, AGED 37. 
 
 The fuperior merit of this fublime genius is too well known to require an encomium, 
 or a defcription of thofe amazing powers which he, and he alone, poftefled , for he excelled 
 
 Yy y in 
 
RAP C 53B J & A J 
 
 in every part of his proftflion to To elevated a degree, as to fecure the applaufe of the age 
 in which he flourilhed, and the a"dmiration of all fucceeding ages. 
 
 He was born at Urbino, in 1483, the fon of Giovanni Santio, a painter of no extraor- 
 dinary eminence ; who, obferving the early inclination ,pf his fon to the art of. painting, 
 inftructed him in the rudiments of it, while he was extremely young ; and Raphael fhewcd 
 fuch a wonderful capacity and genius, that in a few . years he was enabled to affift his 
 father in ibme of thofe works in which he was employed at Urbino. But Giovanni, 
 defirous to give his fon the beft opportunity of improving his talents, placed him as 
 a diiciple with Pietro Perugino, who was then in his higheft reputation* 
 
 The genius of Raphael foon displayed itfejf under that artift, and in a fliOrt time he 
 imitated the ftyle of his mafter in fo exact a manner, that the work of the one could hardly 
 be diftinguifhed from that of the other; and as a proof of this, a picture of the Crucifixion 
 is cited, which, by all the ableft judges and artifts, would have been accounted the per- 
 formance of Perugino, if it had not been infcribed with the name of Raphael. 
 
 However, he foon perceived, that by adhering to the. manner of his mafter, he fhould 
 never attain that perfection to which he afpired ; and therefore he devoted hjmfelf to the 
 ftudy of the antiques, and made himfelf thoroughly acquainted with all their beauties, in 
 order to trans fufe them through his own compofitions. The more he . ftudied them, the 
 rnore he was enamoured of their excellencies ; and not content with the perufal of thofe 
 wonderful fculptures of the ancient artifts to which he had accefs, he employed at his 
 own expence feveral good painters to defign every object that was curious at Pateoir, 
 Bajae, and the different cities of Greece, either in ftatuary or architecture ; of which he 
 made a charming and judicious ufe in .his fubfequent compofitions. 
 
 As the works of Lionardo da Vinci and Michael Angelo Buonaroti, at Florence, were 
 at that time univerfally admired, he went thither ; and having obferved the ftyle of each 
 of thofe famous painters with the utmoft accuracy, he faw fufficient merit in both to 
 improve his own tafte of defign, and altered that manner which he had acquired in the 
 fchooi of Perugino. He alfo confiderably advanced his knowledge of colouring, by 
 obferving the manner of Mafactio at Florence j and gained an additional fkill in per r 
 Ipective, as well as in the management and, union of colours, by his intimacy with 
 Bartolomeo Baccio. . 
 
 Every accompliftiment and qualification neceffary to form an illuftrious painter were 
 combined in Raphael ; a fublimity of thought, a fruitful and rich invention, remarkable 
 eorrectnefs of drawing and defign, and a wonderful difpofition and expreflion. His attitudes 
 are noble, natural, and graceful, and contrafted without the frnalleft appearance of 
 affectation or conftraint; and to the elegance and grandeur of the antique he added the 
 fimplicity of nature; for, though he admired the antique ftatues as highly as he ought, yet 
 he ftudied nature with equal aL duity ; from which combined attention to bothrefulted that 
 amazing variety, and elegance in the forms, actions, and attitudes of his figures, and thofe 
 delicate and graceful airs of the h >ds which diftinguifh his compofitions from all others; 
 and in which he furpafled the greateft matters, who flouriihed fince the revival of the art of 
 painting. 5 It 
 
R AT [ 53$ ] RAP 
 
 Tt has been objected to Raphael, that, by too nice a regard to the purity and correctnefs 
 «»f his outline, his outline often became -hard : but whatever fmall imperfections may be 
 imputed to that inimitable artift, he is allowed to have difFufed more grace through all 
 his works, more truth, nature, and fublimity, than any painter who has yet appeared. 
 Correggio alone could enter even into a competition with him for grace; but he was 
 unequal to Raphael in every other branch of his art. 
 
 At different periods of his life, Raphael had very different manners. His firft was 
 derived from the fchool of Perugino, which he retained for a long time; and it is the 
 opinion of fome writers, that he never entirely abandoned it. But as foon as he had con- 
 templated the cartons of Buonaroti and Lionardo da Vinci, he in a great meafure diverted 
 himfelf of the drynefs of' his firft mafter, and, blending the boldnefs of Michael Angelo 
 with his own graceful ideas, he formed a ftyle of defign more perfect than his model ; 
 and at laft ftruck out a manner peculiar to hi/feifelf, and fuperior to all others, full of 
 grace, dignity, eafe, and elegance, which he retained as. long as he lived. Every new 
 compofition added to his fame, and his lateft work of the Transfiguration is accounted 
 his beft. 
 
 He excelled in portrait as well as in hiftory, and by his pencil immortalized Pope 
 Julius II. and Leo X. with many of the Cardinals of his time j reprefenting them with 
 fuch life and nature, fuch dignity of character, and fuch expreflion, as furpaffes the power 
 of defcription. He finifhed his pictures, efpecially his eafel-pictures, exquifitely ; and 
 took all poflible care to give them the utmoft perfection ; and yet it is faid, he was expe- 
 ditious in his method of working. From the time he fliook off the dry tafte of Perugino 
 feis draperies were caft in a moll noble ftyle, difpofed with an elegant mixture of fimplicity 
 and grandeur, and always fo placed that the finer parts of the naked, particularly about 
 the joints, were difcernible in every figure. 
 
 It is remarkable, that the moft capital frefco paintings of Raphael, in the Vatican, do 
 not ftrike one immediately with that furprife which undoubtedly is expected from the 
 fame of that illuftrious mafter ; and a ftory is related that a perfon of acknowledged tafte 
 and judgment, who alio was an idolizer of Raphael, vifiting the Vatican with an eager 
 defire to ftudy his works, paffed by thofe very compofitions with indifference which were 
 the objects of his enquiry and curiofity, till he was recalled by his conductor, who told 
 him that he had overlooked what he fought for. 
 
 That effect is fuppofed by De Piles to be occafioned by the want of ftrength of colouring 
 proper for each object, that colouring not being fufEciently fupported by a powerful 
 chiaro-fcuro. 'But another fine * writer accounts for it in a different manner. He 
 obferves, that the works of Raphael ftrike little at firft fight, becaufe he imitates nature 
 fo well, that the fpeclator is no more furprifed than when he fees the object itfelf, which 
 would excite no degree of furprife at all ; but that an uncommon expreflion, ftrong 
 colouring, or odd and lingular attitudes of an inferior artift, ftrike us at firft fight, 
 
 Y y y 2 . becaufe 
 
 * Montefquleu. 
 
RAP £ 540 ] RAP 
 
 becaufe we have not been accuftomed to fee them elfewhere. And to illuftrate this point, 
 he compares Raphael to Virgil, fublime, eafy, natural, and majeftic ; and the Venetian 
 painters, with their conftrained attitudes, he compares to Lucan. Virgil, more natural, 
 ftrikes us at firft lefs, to ftrike us afterwards more fenfibly; Lucan ftrikes immediately, 
 but ftrikes us abundantly lefs after. And certainly there cannot be a ftronger teft of the 
 excellence of any performance, either in poetry or painting, than to find the furprife we 
 at firft feel, to be not very powerful ; and yetT to find, by more frequently converfing 
 with it, that it not only fupports itfelf, but increafes continually in our efteem, and at 
 laft leads us to admiration. 
 
 The prodigious number of works in which Raphael was engaged loaded him with 
 riches and honour, and conftrained him to procure young artifts to affift him in the exe- 
 cution of his defigns j and by that means many eminent painters were formed under his 
 direction. But he was fo particularly tareful, that he corrected with his own hand 
 whatever he found imperfectly executed by his difciples, , and gave thofe finifhing touches 
 to the whole which have rendered thofe works the admiration of the world. 
 
 Though, in feveral of his paintings, the colouring may not feem to equal the perfec- 
 tion of the other parts ; yet moft of his portraits, and many of his eafel-pictures, for 
 their high finifhing, and exquifite colouring, are not furpaffed by the pencil of the 
 greateft painter, not even by Titian. And of this, the portraits of Julius, Leo, and 
 Alexander Farnefe, who was afterwards Paul III. as alfo the St. Michael, and the Holy 
 Family, which are in the Royal collection in France, and the St. John in the Defert, are 
 inconteftable evidences. 
 
 To enumerate the various and extenfive works of this aftonifhing genius, would 
 require a volume j and to defcribe them juftly, in proportion to their merit, would demand' 
 an underftanding as enlarged as his own. But as they are now univerfally known to all 
 the lovers of the art, by the multitude of prints publifhed after his defigns ; and as the 
 works of Raphael have been examined by the curious of all nations, who have travelled 
 through the different parts of Europe ; a particular defcription, or recital, feems to be' 
 the lefs neceffaryj though I cannot omit the mentioning of a few. 
 
 In the Royal collection of his Majefty King George III. are thofe celebrated * cartons, 
 which have been for fo many years the glory of England, and the envy of all other polite 
 nations. And his Majefty, who is fo eminently diftinguifhed as an encourager of the 
 
 finer 
 
 * Abbe du Bos, in Lis treatife on poetry and painting, explaining the beauties of the cartons of Raphael, is guilty of 
 fuch a miftake as cannot but appear unpardonable, in a writer of fo much tafte and genius as he is generally efteemed. 
 The Abbe had fuificient opportunity to commend Raphael for his real excellencies, without applauding him for a defect, 
 md fuch a defsdt as the judgment and knowledge of Raphael would not permit him to be guilty of. 
 
 Du Bos, in defcribing the carton of the miraculous draught of fifhes, points out with propriety, the expreflion of 
 St. Peter, St.. John, and other difciples, and proceeds at laft to illuftrate a fingular character, which he feems particularly 
 to admire, for the ftrength and juftnefs of the expreflion ; that figure (according to his opinion) being reprefented with 
 aconfufed countenance, a melancholy complexion, and fceming to be devoured by black jealoufy, in which perfon (he 
 fays) it is eafy to diftinguifh Judas. 
 
 Nowj 
 
RAP 
 
 r 541 i 
 
 RAP 
 
 finer artSjtrmft merit the applaufe of pofterity, as well as of the prefent age, for exprefting 
 fuch a judicious attention to thofe precious treafures,* as to order them to be removed 
 from Hampton Court, where they were evidently in danger of periming, to place them 
 under his own royal care and inspection: his Majefty having, at the fame time, manifefted 
 a more refined tafte for thofe ineftimable performances, than hath been {hewn by any of 
 his predeceflbrs who poflefled them. 
 
 In France are the pictures of St. Margaret and St. George; the latter of which 
 (according to Sandrart) was formerly in the pofieflion of King Charles I. as alfo the 
 remarkable and lovely pictures of St. John in the Defert, and that Holy Family mentioned 
 by Sandrart, in which an Angel- is reprefented fhedding flowers round the Virgin, In 
 the treafury of Loretto is one of Raphael's pictures, amazingly fine, reprefenting the 
 Virgin * with Chrift on her lap ; which cannot be looked on, without feeling a veneration 
 and awe, as well as admiration ; the grandeur of the object excluding all idea of the 
 painter, for it appears more a reality thana picture. There appears in the face of the 
 Virgin, fomewhat that looks more than mortal ; and the infant, though in the innocent 
 pofture of throwing up the legs and arms, though all the air of infancy is in the face, has 
 yet fomething that is divine in every part. The look is fweeter than that of a human 
 face, and yet, with all the grace that is difFufed through it, there is an air that is aweful. 
 The difpofition in this picture has an inimitable dignity and eafe ; the drapery of the 
 Virgin has a noble fimplicity, and the attitude of the head hath fuch an inconceivable 
 grace and foftnefs, as not only charms, but aftonifhes every beholder. 
 
 The original defign for the famous picture of the School of Athens is preferved in the 
 Ambrofian library at Milan. 
 
 RAPHAEL da Rhegio, called Raphaelino* 
 Painted Hijlory and Portrait. 
 
 DIED I580, AGED 28. 
 
 He was born at a village near Rhegio, in 1552; and his parents being but poor, he 
 Was employed in low and fervile ofHces while he was young, which gave him a difguft 
 
 to 
 
 Now, if that very ingenious, writer, Mr. Du Bos, had but maturely confidered the precife tf.me that Raphael chofe 
 For his fubjett, which the Evangelift tells us was the third time of his appearing to the difciples after his refurreclion, 
 and consequently fome weeks after the death of Judas, who hanged himfelf when Chrift was condemned ; or, had he 
 even counted the number of figures in the compofition, which is only eleven and the Lord ; he could never have erred Co 
 unaccountably, as to imagine that Raphael deferved commendation for being fo abfurd as to introduce fo infamous a 
 wretch, at (uch a point of time, when Chrift was directing his difciples to take care of his flock $ or for grouping fuch 
 a perfon among the Apoftles, who, as he was dead before, could not alTociate with them ; and who, if he had been alive, 
 they would have avoided with deteftation and abhorrence. Certainly the Abbe, with ever fo little reflection, muft have 
 perceived, that the difcernrncnt and judgment of Raphael would not have permitted him to be guilty of fo grofs an 
 anachronifm. 
 
 Perhaps the belt apology, and probably the trueft, that csn be made for this miltake of Du Bos, is, that he was much' 
 more converfant and better acquainted with the works of Raphael, than with the w^rks of the Evangelifts. 
 
 * Vid. Letters from the Eaft. 
 
RAP [ 542 3 -R-A v 
 
 to that kind of life, and induced him privately to quit the place of his nativity. As the 
 impulfe of his genius directed him to painting, he fought out the artifts in that profeffion; 
 and by having an amiable perfon with an agreeable conduct, he was treated by them with 
 great Icindnefs, and inftructed in the rudiments of the art. Afterwards, he became the 
 difciple of Frederick Zucchero, and made fuch an incredible progrefs under the guidance 
 of that mafter, that, in the compafs of only one year, his performances were accounted 
 equal to thofe of his inftructor. 
 
 He was employed in the principal churches at Rome, and in many of the palaces of the 
 Nobility; he worked with equal beauty in frefco and in oil, in portrait and hiftory, and 
 rofe into the higheft efteem ; fo that moft of the young artifts of his time admired his 
 ftyle, and induftrioufly ftudied to imitate his manner. He poftefled many of the moft 
 eftimable parts of the art of painting; his defign was fpirited and correct:; there appeared 
 great union and harmony in his colouring ; he had alfo a confiderable portion of grace, 
 and his pictures had a bold relief, by the deepnefs of his fhadowings, which were 
 managed with fo muchikill, as to give a luftre to the brighter tints. 
 
 Among the capital works of this mafter, two are particularly mentioned : the fubject 
 of one is, the Cripple reftored to the ufe of his limbs by St. Peter and St. John, the fame 
 fubject which Raphael defignedin one of the cartons; the other is St. Andrew conducting 
 his brother Peter to Chrift. Both thefe are excellent compofitions, correctly drawn and 
 finely coloured; the draperies are broad and in a grand tafte; and the trees and landfcapes 
 in the latter are beautifully executed. 
 
 John Van RAVESTEYN. 
 Painted Portrait. 
 
 "He was born at the Hague, about the year 1 580 ; and although it is uncertain to what 
 mafter he owed his inftruction, yet his works are fufficient evidences of his extraordinary 
 merit. He was confeffedly fuperior to any of the preceding artifts among the Flemings, 
 and (excepting Rubens and Vandyck) equal to the beft of his cotemporaries, and perhaps 
 furpafled them. 
 
 His compofition is extremely good, and full of fpirit; his attitudes are eafy, and have an 
 agreeable variety; his lights and fhadows are' judicioufly diftributed; his colouring is 
 remarkably good, and his touch is broad and firm. His knowledge in perfpective was very 
 extenfive, and he particularly excelled in that part of it which is called Aerial; nor was 
 there any painter of his time who fhewed more fkill in the harmonious mixture of his 
 colours. 
 
 Several large pictures of this mafter's painting are to befeen in the grand banqueting 
 hall at the Hague, which will juftify all that can be faid in his commendation. One of 
 them is fifteen feet long, and in it are reprefented the Magiftrates of the Hague, feated 
 . at a table. It contains twenty-fix figures, portraits of the principal perfons, and all the 
 
 figures 
 
 \ 
 
R A V 
 
 C 543 3 
 
 R A T 
 
 figures are as large as life. The difpofuion is very judicious, the attitudes well con- 
 trafted,. and the likenefs in each of the portraits is faid to have been furpnfingly ftrong. 
 
 Hubert Van RAVESTEYN.. 
 Painted Still- Life and Conversations,^ 
 
 He was born at Dort, about the year 1647, and became a painter of very great reputa- 
 tion, making a proper allowance for the meannefs of his fubjects. They were all taken 
 from the loweft life, fuch as the houfes of boors and villagers ; and- generally he chofe to 
 defcribe the infides of thofe miferable,. habitations, where fheep were penned up, and 
 maids were bufied in fcowering the kitchen utenfils, flaughtering times, boys blowing 
 up bladders of animals, entrails of hogs, faufages, bafketsj and fuch like objects. But 
 it muft be confefled, that every fubject he painted {hewed a wonderful neatnefs in the 
 execution. , 
 
 The tints of his colouring had truth and nature to recommend them to th.e eye j his 
 drawing was correct; his pictures mewed that the ariift had a fine underftanding of the 
 chiaro-fcuro> and they were remarkably tranfparent. 
 
 Nicholas Van RAVESTEYN; 
 Painted Hijiory and Portrait, 
 
 DIED 1750, AGED. 8t}i . 
 
 He was born at Bommel, in 1661, and was originally educated for a literary profefliorr s 
 though his father, Henry Ravefteyn, who was a good painter, gave him fome inftf uction 
 in drawing and defign. But being deprived of his father while he was purfuing his 
 claffical ftudies, he changed his refolution, and determined to make the' art of painting his 
 profeffion, as feveral of his family had gained confiderable riches and reputation in that 
 way of life; and he placed himfelf "at firft under the direction of William Doudyns, 
 though he afterwards ftudied with John de Baan. 
 
 He imitated thefrianner of both matters; but he took care to add to his other know- 
 ledge, the knowledge of nature, to. which he perpetually attended ; not permitting even 
 the moil minute object to pafs unnoticed, or without his endeavouring to defign after it. 
 
 His, firft appearance as an artift was in his native city, where he foon found employ- 
 ment among perfons of the greateft diftinction ; and in a fhort time perceived, that he 
 was unable to execute one half of the bufinefs he was folicited to undertake. "What 
 increafed his reputation exceedingly was, his painting the portrait of the Princefs of 
 Waldeck after her death ; for which purpofe he had been invited to the Court of Kuilen^ 
 burg. As no painter had been fo fortunate as to hit her iikeneiV while me was alive, 
 Ravefteyn himfelf, as well as his employers, had very fmali hopes of fuccefs ; and yet 
 he was fo happy as to prove fuccefsfuf, even to the admiration of all ; and received fuch 
 prefents from that Court, as were a public teftimony of his uncommon abilities. 
 
 But*.. 
 
R A V I 544 ] KED 
 
 But, although he excelled in portrait, yet he alfo diftinguifhed himfelf as a painter of 
 Iiiftory ; in which he (hewed genius, and elevation of thought. He defigned in a good 
 tafte, he had a free and eafy manner of handling, and a pleafing tone of colour. For 
 the moft part, he painted his portraits in the hiftorical tafte, and his figures had not 
 only a ftriking refemblance, but the difpofition of them was elegant. 
 
 This mafter lived to a great age, and painted to the laft year of his life; yet eyen in 
 his lateft performances it is very obfervable, that no traces can be difcerned of the weaknefs. 
 or infirmities of old-age. 
 
 Tommaso RED I. 
 Painted Hljlory and Portrait, 
 
 DIED I726, AGED 6l. 
 
 He was born at Florence, in 1665, and placed as a difciple with Domenico Gabbiani, 
 who had juft returned from perfecting his ftudies at Rome and other parts of Italy, to 
 fettle in his own country. He had not been for any length of time under the direction 
 of Domenico, till he gave exemplary proofs of a proficiency, beyond the expectation of 
 all the profeffed artifts, in correctnefs and elegance. And to improve thofe talents which 
 appeared fo promifing, he was fent to the Florentine academy at Rome, which was at that 
 time conducted by Ciro Ferri, and Carlo Maratti, and maintained by the liberality of the 
 Grand Duke Cofmo III. where he accomplifhed himfelf in defign and colouring, fo as to 
 have very few who could enter into competition with him. 
 
 At his return to Florence, his merit procured him the patronage and particular efteem 
 of Cofmo, who employed him in feveral works for his palaces ; and he was alfo folicited 
 to adorn many of the churches, convents,, and houfes of the Nobility in that city. He 
 compofed a great number of fubjects, facred and profane, and feveral from poetic or 
 fabulous hiftory ; as alfo fome that were allegorical, which were eagerly purchafed by the 
 Florentines. A few of the hiftorical compofitions of Redi were bought by Englifli Noble- 
 men, whofe names are not recited, though the fubjects of fome of them are noticed j 
 particularly the apparition of Caefar to Brutus j Cincinnatus, taken from the plough tp 
 arTume the dictatorial office ; and the Continence of Scipio. 
 
 He painted portraits in an excellent ftyle; and defigned moft of the antique monuments 
 of Tufcany, with fingular exactnefs, which v/ere afterwards engraved and publifhed. 
 The Czar Peter, who in his travels had an opportunity of feeing fome of Redi's perfor- 
 mances, and was exceedingly anxious to introduce the polite arts into his dominions, 
 fent four young gentlemen to Florence, to be taught the art of painting, under his 
 direction. At their return to Mofcow, the Czar was fo highly pleafed with their pro- 
 ficiency, that he determined to erect an academy at Mofcow for painting, and offered 
 twelve hundred crowns annual penfion to Redi, befide other emoluments, to induce him 
 to undertake the direction of it 3 and that mafter would willingly have embraced fo 
 2 , honourable 
 
R E G 
 
 C 545 3 
 
 R E M 
 
 honourable a propofal, had he not been, by the raoft prefTing entreaties of his friends, 
 detained in his own country. 
 
 In hiftory, this artift defigned with very great elegance and corre£nefs ; his ftyle of 
 colouring is fweet, being an agreeable mixture of the tints of his two Roman matters, 
 Carlo Maratti, and Ciro Ferri. His attitudes, in general, are well chofen ; his portraits 
 very happily exprefs the character of his models ; and, in all parts of his profeffion, he 
 fhewed a ready invention, great freedom of hand, and a good difpofition of his figures. 
 
 REGILLO. Vid. Pordenone. 
 
 Wenceslaus Laurent REINER. 
 Painted Hi/iory^ Landfcapes^ and Battles. 
 DIED 1743, AGED 57. 
 
 He was born at Prague, in 1686, and was the fon of an indifferent fculptor, who 
 •endeavoured, according to his ability, to inftrucl: him in drawing and painting ; but his 
 chief knowledge was derived from the rules and directions given him by BrendeJ, 
 a painter of fome confideration in that city. As Reiner grew defirous to obtain greater 
 improvement, he ferved an apprenticefhip of three years to a profeffed, but wretched 
 artift, from whom it was impoflible for him to acquire what he fought for induftrioufly ; 
 and finding his time unprofitably wafted, being alfo difappointed in his hopes, he deter- 
 mined to truft to the ftrength of his own genius. He therefore diligently ftudied 
 after the beft models he could procure ; he attended to nature, and at laft became a painter 
 of diftinction, having rendered himfelf mafter of the true principles of his art. He 
 painted hiftory, landfcape, animals, and battles, with great credit, and worked as expertly 
 in frefco as in oil j fo that he was employed in feveral grand defigns at Vienna, Breflau, 
 and in Bohemia, for the altar-pieces of churches and convents, which he executed with 
 reputation. 
 
 The compofitions of this mafter are always filled with a number of figures ; and his 
 defign and colouring are commendable. His landfcapes are ftrongly coloured, and fhew 
 a great deal of truth and nature j and the figures, as well as the animals which he 
 introduces, are much in the ftyle and manner of Van Bloemen. Some of the paintings 
 of Reiner are honoured with a place in the grand gallery of Auguftus, King of Poland, 
 and many of his works were in the pofleffion of the late Count Bruhl. 
 
 REMBRANDT Van Ryn. 
 Painted Hi/lory and Portrait. 
 
 *DIED 1674, AGED 68. 
 
 He was born at a village near Leyden, in 1606. His real name was Gerretfz j but lie 
 ■ is known by the name of Van Ryn, an appellation given him from the place where he 
 
 Z z z fpent 
 
 » According to E|e Piles, Rembrandt dhd In j66"3, aged 62 
 
REM 
 
 E 546 ] 
 
 REM 
 
 fpent the youthful part of his life, which was on the borders of the Rhine. As he gave 
 very early tokens of a ftrong genius t6 painting, he was at firft placed under the care of 
 Jacques van Zwanenburg, in whofe fchool he continued for three years ; and in that time 
 afforded fuch evident proofs of uncommon and fuperior talents as extremely furprifed his 
 inftructor. Afterwards he was the difciple of Peter Laftman, but ftaid no longer than 
 fix months with that mafter ; and for the fame length of time he ftudied under Jacob 
 Pinas j from whofe manner, it is faid, Rembrandt acquired that tafte for ftrong oppolitions 
 of light and fhadow, which he ever after fo happily cultivated. He formed his own manner 
 entirely by ftudying and imitating nature, which he copied in its moft fimple drefs, 
 without any apparent attention to elegance of choice. But although it was not his 
 talent to felect what was moft beautiful or graceful in nature, yet had he an amazing 
 power, in reprefenting every object that was before his eyes with fuch truth, force, and 
 life, as nothing but nature itfelf can equal. 
 
 By the advice of an artift, who was his friend, Rembrandt was prevailed on to carry one 
 of his firft performances to the Hague; and he there offered it to an able connoifieur, who 
 treated him with great kindnefs and refpect, and prefented him with an hundred florins for 
 the picture. That incident, though not feeming to be of any great confequence, yet laid 
 the foundation of Rembrandt's fortune ; for, it not only ferved to make the public acquainted 
 with his abilities, but it alfo contributed to make him more fenfible of his merit. And 
 as he foon after was folicited for his works, by many perfons of diftinclion, he fettled at 
 Amfterdam, where he might follow his profeflion with more eafe and advantage. 
 
 Inceflant bufinefs crowded on Rembrandt immediately, fo as fcarcely to allow him time to 
 gratify the general demand for his paintings ; and he had fuch a number of pupils, that wealth 
 flowed in upon him plentifully, from many fources. For, as moft of his difciples were 
 the fons of people of condition or fortune, he received from each of them an hundred 
 florins a year for their inftruction ; and he had fagacity enough to raife a confiderable fum, 
 by the fale of thofe copies which they made after his pictures and defigns: for he 
 always retouched them in feveral parts, with his own free pencil, to increafe their value, 
 by inducing purchafers to believe them to be really his own. And we are affured by 
 Sandrart, that by fuch kind of traffic, and an artful management of the fale of his etchings, 
 he gained every year, at the leaft, two thoufand five hundred florins. 
 
 His ftyle of painting, in the firft years of his practice, was very difFerent from that 
 of his latter time ; for his early performances were finiflied highly, and with a neat 
 pencil, refembling thofe of Mieris ; but he afterwards afiumed a ftyle of colouring and 
 handling, as oppofite to it as poflible, ftrong, bold, and with a degree of force that aftonifhes ; 
 in which he has been unexcelled by any artift, though Eeckhout, and fome of his beft 
 difciples, have approached very near him. In his firft manner are, the hiftorical picture 
 of Ahafuerus, Efther, and Haman ; the Woman taken in adultery ; and St. John preaching 
 in the wildernefs ; which are mentioned as being exquiiitely finiflied, and yet touched 
 with inexpreflible fire and fpirit. Houbraken feems to afcribe more real merit to his 
 former than his latter works, although at that time he painted with amazing expedition. 
 
 2 The 
 
REM 
 
 C 547 3 
 
 REM 
 
 The invention of Rembrandt was very fertile, and his imagination lively and active j 
 but his compofition, notwithstanding it was remarkable for Strength of expreffion, was 
 deftitute of grandeur; and although his genius was full of fire, yet he wanted elevation 
 of thought, and had little or no notion of grace or elegance. It has been faid, that if 
 Rembrandt had vifited Rome, his tafte would have been proportionably refined; and that 
 the knowledge of the antique, added to his other eminent qualifications, might have pro- 
 duced a mafter equal to the mod exalted character. But that this would certainly have 
 been the effect of his vifiting Italy, may juftly be doubted, when the prevalence of habit 
 is confidered ; when his mind was ftored with ideas taken from grofs and heavy nature, 
 to which he had been familiarifed from his infancy;, and if it be alfo particularly con- 
 fidered, that he took pains to furniSh himfelf with a collection of the fineft Italian prints, 
 drawings and defigns, many of them taken from the antiques, which he feems to have 
 Studied with pleafure, but without the fmalleft improvement of his tafte. It appears as 
 if hefiad more folid delight in contemplating his own repofitory of old draperies, armour, 
 weapons, and turbans, which he jocularly called his antiques, than he ever felt from Sur- 
 veying the works of the Grecian artifts, or the compofitions of Raphael. 
 
 As to his colouring, it was furprifing; his carnations are as true, as frefh, and as per- 
 fect, in the fubjects he painted, as they appear in the works of Titian, or any other 
 mafter, with this only difference, that the colouring of Titian will admit of the neareft 
 inflection, whereas that of Rembrandt muft be viewed at a convenient diftance ; and then 
 an equal degree of union, force, and harmony, may' be obferved in both. 
 
 His portraits are confefledly excellent; but by his being accuftomed to imitate nature 
 exactly, and the nature he imitated being always of the heavy kind, his portraits, though 
 admirable in refpedt of the likenefs, and the look of life, want grace and dignity in the 
 airs and attitudes. lt\ regard to other particulars, he was fo exact in giving the true 
 refemblance of the perfons who fat to him, that he diftinguifhed the predominant feature 
 and character in every face, without endeavouring to improve or embellifli it. And in 
 many of his heads may be feen fuch a minute exactnefs, that he reprefented even the 
 hairs of the beard and the wrinkles of old age : yet, at a proper diftance, the whole has an 
 effect that aftonifhes ; for he imitated his model in fo true, fo plain, and fo faithful a 
 manner, that every portrait appears animated, and as if ftarting from the canvas. 
 
 His local colours are extremely good ; he perfectly underftood the principles of the 
 chiaro-fcuro ; and it is reported, that he generally painted in a chamber, fo contrived as 
 to admit but one ray of light, and that from above. The lights in his pictures were 
 painted with a body of colour unufually thick, as if the artift had an intention rather to 
 model than to paint ; but he knew the nature and property of each particular colour fo 
 thoroughly, that he placed every tint in its proper place, and by that means avoided the 
 neceffity of breaking and torturing his colours, and preferved them in their full freShnefs^ 
 beauty, and luftre. 
 
 One of his greateft defects appeared in his defigning the naked ; for in fuch figures he 
 was exceflively incorrect : the bodies were either too grofs or too lean, the extremities 
 
 Z Z Z 2 t0 ° 
 
REM 
 
 [ 548 3 
 
 RE Y 
 
 too fmall or too great, and the whole figures generally out of proportion. Bat in other 
 parts of his art, fuch as colouring, expreflion, and the force produced by lights and 
 fhadows, happily and harmonioufly oppofed, he had few-equal to him, and none fuperior. 
 
 The etchings of Rembrandt are exceedingly admired, and collected with great care and 
 expence for the cabinets of the curious, in moft parts of Europe; and it is remarked, 
 that none of his prints are dated earlier than i628j nor later than 1659, though there 
 are feveral of his paintings dated in 1660, and particularly the portrait of a Francifcan 
 Friar. He had the fame fpirit in every ftrolce of the graver, as in the markings of his 
 pencil j there feems not to be a fingle touch that does not produce expreflion and life. 
 
 The genuine works of this mafter are rarely to be met with, and, whenever they are 
 to be purchafed, they afford incredible prices. Many of them are • preferved in the rich 
 collections of the Englifh Nobility; fome are in the Duke's palace at Florence, where 
 the portrait of Rembrandt painted by himfelf is placed in the gallery of artifts ; a few of 
 his works are at Genoa, one or two at Turin, and feveral in the cabinets of the French 
 King and the Duke of Orleans. 
 
 R E S C H I. Vid. P A N D O L F o. 
 
 Peter REUVEN. 
 Painted Hijiory and Portrait. 
 
 DIED I718, AGED 68. 
 
 He was born in 1650, and was a difciple of Jacques Jordaens, with whom he ftudkd 
 and practifed fo induftrioufly, that he became very confiderable in his profeffion. 
 
 He was moftly employed in great works, fuch as the decorations of magnificent halls, 
 falons, and grand apartments, in which he generally painted the cielings. He defigned 
 the triumphal arches for the reception of King William III. at the Hague; and in that 
 work, the merit of his compofition, as well as his execution procured him extraordinary 
 applaufe. The fineft apartments at Loo are painted by this mafter, who was remarkable 
 for the variety which appears in. his compofition, for the readinefs of his execution, and 
 the freedom and firmnefs of his pencil ; and it feems inconceivable, to thofe who obferve 
 how carefully his works are finiflied, how they could be accompliihed in fo fhort a time 
 as in reality they were, confidering at the fame time the goodnefs of the colouring, and 
 the abundance of figures which are introduced. 
 
 Jan de REYN, or Rheni, called Lang Jan.. 
 Painted Hijiory and Portrait. 
 
 DIED 1678, AGED 68. 
 
 This painter was born at Dunkirk, in 1610, and had the happinefs to be a difciple of 
 Vandyck, Under the conduct of that eminent mafter, he diftinguifhed himfelf in fuch a 
 
 manner 
 
RIB C 549 3 R I C 
 
 manner that he was efteemed the beft performer in that fchool, and an honour to his 
 inftrudtor. He was fo attached to his mafter, that he followed him to London; where, 
 it is thought, he continued as long as he lived. In thefe kingdoms he is moftly known 
 by the name of Lang Jan. 
 
 No artift approached fo near to Vandyck, as De Reyn, in every part of painting; he 
 ftrongly refembled him in the lovely tone of his colour, in the fpirit of his touch, and in 
 the delicacy of his pencil. His defign is very correct, and the hands of his figures 
 have the fame elegant turn and exactnefs, which are obfervable in all the works of his 
 mafter. His composition is generally in a noble ftyle, though fome think it to be rather 
 a. little encumbered and confufed ; but, in other refpects, his manner was extremely 
 grand. His draperies are broad and well caft ; and in all his paintings he fhews a fine 
 intelligence of the chiaro-fcuro. * 
 
 It is imagined that the fcarcity of the works of Lang Jan, is occafioned by fo many of 
 them being imputed to Vandyck, and fold for the performances of that incomparable 
 mafter; which circumftance, if true, is undoubtedly more to his honour than any thing 
 that could be faid in his commendation. Among the indifputable works of this artift, 
 are mentioned the Baptifm of Totila, which is in a church at Dunkirk;. and in the hall 
 of the Jefuits in the fame city, are painted the figures of feveral Saints, larger than life; 
 and alfo a grand altar-piece in the parifh church of St. Martin, at Bergues, reprefenting 
 Herodias bringing the head of St. John to Herod, which is exceedingly admired. 
 
 RIBE R A. Vid. . S p a g koletto. 
 
 Sebastian RICC1. 
 Painted Hijtory. 
 
 DIED 1734, AGED 75. 
 
 He was born at Belluno, near the Marquifate of Trevigiano, in* 1 659; and having 
 difcovered a very early genius to the art of painting, he was conducted by his father to 
 Venice, and placed as a difciple with Frederico * Cervelli, a Milanefe painter of good 
 reputation, under whom he diligently ftudied defign and colouring for nine years. 
 Afterwards he improved himfelf at Bologna, and other cities of Italy through which he 
 travelled, by copying the works of the great mafters; and in his progrefs obtained the- 
 favour and patronage of Rannuccio II. Duke of Parma, for whom he finiflied fome very 
 grand defigns. 
 
 By the liberality of that Prince he was honourably maintained at Rome, to improve 
 himfelf ftill more, by ftudying the productions of the beft ancient and modern artifts; 
 and he there eftabliftied his tafte, and formed that grandeur of ftyle which procured him 
 
 univerfal 
 
 * In the Abrege,. &c. this Milanefe painter is called Corvelli j but according to the Mufe-um Florentinum, Cervelli 1 . 
 
 4 
 
R I C 
 
 [ 550 ] 
 
 r rc 
 
 univerfal efteem. Having at length quitted Rome, and finiflied fome excellent defigns at 
 Milan, he returned to Venice, where his pleafing manner of colouring attracted the 
 attention of every lover of the art ; and he was fo eagerly folicited for his paintings, that 
 he could barely allow himfelf leifure to take even his necefiary refrefhments. 
 
 The fame of Sebaftian fled fpeedily through every part of Europe, and he received an 
 invitation to the Court of the Emperor at Vienna, to adorn the magnificent palace of 
 Schoenbrun ; by which work he not only added highly to his reputation, but alfo "to his 
 fortune. From Vienna, he was encouraged to vifit London, where he was immediately 
 and incefiantly employed by the Court, by the Nobility, and by a number of perfons of 
 ample fortune, who were competent judges of his extraordinary merit, and were defirous 
 to poflefs fome of his productions. 
 
 He refided in England for ten years, and immortalifed his name by feveral grand com- 
 politions ; and .being enriched by that generous nation, who are uncommonly liberal to all 
 kinds of merit, he returned to Venice, accompanied by his nephew Marco Ricci, and 
 fettled in that city for the remainder of his life. 
 
 He had a fruitful and fine imagination ; a grandeur and elevation of thought; his 
 compofitions are remarkable for their judicious ordonnance and harmony ; his touch is 
 light; he had a ready and great execution; and his tone of colouring is agreeable, 
 though fometimes he is a little too black. Had he confulted nature more attentively, his 
 figures would have been more correct; but he was too apt to undertake too many things 
 . at one time, which caufed him principally to work from imagination, and that always 
 conftrains an artift to keep too much to one and the fame manner. However, his pain- 
 tings have maintained an univerfal reputation, and are bought by the moll able judges at 
 confiderable prices. 
 
 Among many excellent works of this mafter, befides thofe at Chelfea and Montague- 
 houfe, three are particularly applauded, which are in the church of St. Cofmus and 
 Damian, at Venice. One is the reprefentation of David bringing back the Ark in 
 triumph; another is, the Dedication of the Temple by Solomon; and the third, Mofes 
 commanding water out of the Rock, which is enriched with an admirable landfcape, 
 painted by his nephew Marco Ricci. 
 
 Marco RICCI. 
 
 /Painted Landfcape, Hi/lory, and Perfpecllve Architeclure* 
 
 DIED I73O. 
 
 He was the nephew and difciple of Sebaftian Ricci, equally eminent for painting 
 v'hiftory, architecture, and landfcape; but, in the latter, his ftyle and tafte of defign appear 
 truly excellent. He ftudied, and alfo defigned the moft beautiful edifices, ruins, and 
 ;fcenes, that engaged his attention either in Rome, or in the villages around it, with 
 -which he enriched his ideas j and being pofleffed of a very happy genius, it directed him 
 
 to 
 
R I C 
 
 [ 551 ] 
 
 R I C 
 
 to make an elegant ufe of thofe rich materials, by introducing into his landfcapes fuch 
 noble remains of ancient magnificence, as diftinguifh his compofitions from thofe of any- 
 other artift. In the choice of his fcenes and fituations, in the breaking of his grounds, 
 and conducting his diftances with perfpe&ive truth, he was fuperior to moft of his cotem- 
 poraries. In fhort, in every part he mews evidently, that he had ftudied nature in its moft 
 beautiful drefs ; and fo much grandeur of tafte appears in the whole, as can rarely be feen 
 in the works of any other mafter. 
 
 It has been indeed not unjuftly ob'ferved, that the colouring of Marco has not that 
 force and luftre which feem neceflary to engage and fatisfy the eye of the fpeclator ; but 
 the grandeur of his ideas, and the elegance of his tafte, muft for ever afford a fenfible 
 delight to a judicious obferver. He painted both in oil and in diftempen but he is 
 accounted much more excellent in the latter than in the former. 
 
 Many of the pictures painted by this mafter are to be feen in England. At Burling- 
 ton-houfe fome of the cielings were painted by him, and alfo a piece of ruins in the 
 ftyle of Viviano; and at Bulftrode, a feat belonging to the Duke of Portland, he painted, 
 in the chapel, the'Laft Supper, in which compofition he has introduced his own portrait 
 in a modern habit, with an equal degree of vanity, impropriety, and abfurdity, 
 
 RICCIARELLI. Vid. Daniel da Vol terra. 
 
 Domenico RICCIO, called Br u s a - S or c i. 
 
 Painted Hijlory. 
 
 DIED I567, AGED 73. 
 
 He was born at Verona r in * 1494, and was a difciple of Giovanni Francefco Caroto, 
 who taught him defign and colouring, and qualified him to appear with credit in his 
 profeflion. But being ambitious to obtain a more extenfive knowledge of the art, than 
 he could acquire in the fchool of Caroto, he went to Venice, to ftudy the works of 
 Giorgione and Titian. 
 
 To difcover the peculiar excellencies of thofe great artifts, he was indefatigable in 
 making obfervations, and full as diligent in endeavouring to imitate what he approved. 
 At laft he arrived at fuch perfection, that his works were generally admired and coveted, 
 for the beauty of his colouring, and the attitudes of his figures, that were full of motion 
 and life. 
 
 In the Cardinal Gonzaga he found a zealous protector and friend, who invited him to 
 Mantua j and during his relidence in that city he had the honour of painting in compe- 
 tition 
 
 * Among many errors in the Chronological Tables of the eminent painters, publifhed by Harms, there appears one 
 unaccountable miftake, in reference to Domenico Riccio j for in Table V. he fets down that mafter as being born in 1484, 
 or 1486, only taking notice that he ftudied Giorgione and Titian; and yet in the very next Table, VI. he mentions th* 
 very lame mafter as being born in 1494, and the difciple of Caroto. 
 
R I D 
 
 C 552 ] 
 
 >R I £ 
 
 tition with two of the moft celebrated matters of his time, Paolo Veronefe, and Paolo 
 Farinato. 
 
 In the church of St. George, at Verona, is a picture by this mafter, reprefenting the 
 gathering of the A4anna in. the Wiklernefs, which is accounted a fine compofition; and 
 in refpect of the colouring has much more force than a famous picture by Farinato, 
 which is placed not far from it. 
 
 Claudio RIDOLFI. 
 Painted Hijiory and Portrait. 
 
 DIED 1644, AGED 84. 
 
 This artift was born at Verona, in 1560, and learned defign and colouring from Dario 
 dal Pozzo ; but after he had fpent a few years under the direction of that mafler, he 
 went to Venice, and entered himfelf as a difciple in the fchool of Paolo Veronefe, where 
 he exerted his utmoft induftry to copy the compofitions of that famous painter, and to 
 guide his practice entirely by his precepts. 
 
 By that prudent method of conducting his ftudies, he eftablifhed his tafte, and refided 
 for feveral years at Venice, to perfect: himfelf as much as poffible in his profeffion; and 
 at laft vifited Rome and Urbino. In the lofmer city, by converting with the works of 
 the ancient artifts of Greece and Italy, he gained a correct manner of defigning, and 
 likewife the habit of introducing judicioufly one broad mafs of light in the principal part 
 of his pictures, which produced an extraordinary fine effect. , And at Urbino, by fpend- 
 ing fome time with Frederico Barroccio, he acquired a delicate touch, a fweetnefs of 
 colouring and penciling, and the art of giving graceful airs to the heads of his figures. 
 It is afferted by fome writers on this fubject, that, while he continued at Urbino, he 
 painted a moft celebrated picture, reprefenting the Annunciation, which, for beauty of 
 colour and excellent expreffion, is admired to a degree little fhort of adoration. 
 
 At Rome he finiftied a great number of portraits, remarkable for the dignity of their 
 attitudes, as well as for their expreffion and ftriking refemblance ; and thofe procured 
 for him fuch general applaufe, as gave him a juft title to be ranked in the number of 
 the beft painters of Italy. 
 
 John . Klaasze RIETSCHOOF. 
 
 Painted Sea-pieces. 
 
 DIED I719, AGED 67. 
 
 He was born at Hoorn, in 1652, and was at firft inftru&ed by Abraham Leidts, but 
 afterwards perfected himfelf in the fchool of Ludolph Backhuyfen, whofe manner of 
 -handling and defign he imitated with fo great fuccefs, that he is very defer vedly ranked 
 among the moft efteemed painters in that ftyle. 
 
 5 He 
 
R I E 
 
 E 553 ] 
 
 RIG 
 
 He was remarkably modeft, and although he obtained praife for every work he finifhed, 
 he could never prevail on himfelf to believe he deferved it, which feems to be an uncom- 
 mon difpofrtion of mind in a painter. He alfo pofleffed another quality full as fingular, 
 which was, that he appeared fanguine in giving a juft commendation to the character 
 and talents of any other artift, and filent with regard to his own. 
 
 Henry RIETSCHOOF. 
 
 Painted Sea-Pieces. 
 
 He was the fon and only difciple of Klaafze, born at Hoorn, in the year 1678. As he 
 learned the art of painting from his father, he gave himfelf up entirely to his manner, 
 and induftrioufly ftudied his ftyle of colouring, handling, and defign; though fometimes 
 he made the works of Backhuyfen his model, and copied feveral of them with incredible 
 exact nefs. 
 
 The fubjects which he moft frequently painted were rough gales of wind, ftorms, 
 enraged feas, tempefts attended with lightning, fhipwrecks, and the diftrefs of thofe who 
 were whelming in the deep, or with difficulty efcaping to the ftiorei and in thofe fubjects 
 he was accounted a good painter. 
 
 Hyacinth RIGAUD, Chevalier. 
 Painted Portrait. 
 died I743> aged 80. 
 
 He was born at Perpignan, in the province of Languedoc, in 1663, and received his 
 earlieft knowledge of the rudiments of the art from his father, Matthias Rigaud, a painter 
 of fome note. But happening to be deprived of his director when he was only eight 
 years of age, the matters under whofe care he was afterwards placed were incapable of 
 affording him fuch a degree of inftruction as he feemed capable of receiving, by the live- 
 liness of his genius and talents. However, at laft he contracted an intimate friendftiip 
 with an excellent painter, named Ranc, who was in high reputation for portrait-painting, 
 and efpecially for his colouring. 
 
 With that mafter Rigaud acquired a good tafte, and freedom of hand, but his principal 
 improvement was derived from his habituating himfelf to copy the works of Vandyck ; 
 and, after a few years diligently employed in a conftant courfe of ftudy and practice, his 
 pictures could ftand in competition with thofe of his mafter Ranc, for truth, for livelinefs, 
 and for expreflion. 
 
 He felt an impatient defire to vifit Italy, but was difluaded from taking that journey by 
 Le Brun, who prevailed on him to continue at Paris, and perfect himfelf there in portrait- 
 painting, by which he might allure himfelf of reputation and fortune. He therefore 
 purfued that plan, and foon diftinguiftied himfelf in fuch a manner, that the King of 
 
 4 A France, 
 
it 1 & 
 
 C 554 3 
 
 R I L 
 
 France, the Princes of the Blood, the prime Nobility of that kingdom, and many foreign 
 Princes, fat to him for their portraits, which procured him very great applaufe ; and by 
 Lewis XV. he was honoured with the order of St. Michael, as alfo with -a very confiderable 
 penfion in 1727* 
 
 He is accounted one of the beft among the French matters, and his works are exceed- 
 ingly prized in that kingdom. He had a free and fpirited pencil, a lively tone of colouring, 
 and, in many parts of his profeffion, fhews a great deal of merit. But allowing Rigaud 
 his juft praife for thofe parts in which he particularly excelled, it cannot hut be confefled 
 that his draperies are too violently agitated, fo as to compel the fpeclator's attention to 
 them more than to the portrait. Nor can fuch a difpofition in the draperies appear even 
 natural, when the perfon is reprefented as under cover in an apartment, and at the fame 
 time the hair and the draperies appear as if the perfon fat abroad in a ftorm. 
 
 - John RILEY. 
 Painted Portrait. 
 
 *DIET> 169I, AGED 45. 
 
 He was born at London, in 1646, and inftructed in the art of painting by Fuller and - 
 Zouft. An ingenious writer (in the Anecdotes) afferts that he was one of the beft 
 native painters that has flour ifhed in England ; and that there are draperies and hands 
 painted by him that would do honour either to Lely or Kneller j the portrait of the 
 Lord Keeper North, at Wrox ton, being in every refpec~l a capital performance. 
 
 Undoubtedly he had a great deal of merit, and fome of his portraits juftly deferve 
 commendation; for his ftyle of painting was agreeable, and his colouring extremely 
 pleafing. But by being preceded by feveral eminent artifts in his profeflion, fuch as 
 Vandyck, Dobfon, and Lely, and cotemporary alfo with Kneller, it feems no way fur- 
 priflng that his reputation was not advanced in proportion to his merit, or that his works 
 did not engage the public attention as much as they really deferved. However, perhaps 
 that lingular modeft diffidence, which Riley always had in refpecT: to his own paintings, 
 might alfo in fome degree have contributed to make his merit lefs noticed j for nothing 
 is more frequent than to fee vanity, which is rarely the attendant on true merit, much 
 more fuccefsful in pufliing a man's fortune to an unexpected and unmerited height, than 
 the more amiable qualities of humility and modefty, though accompanied (as they gene- 
 rally are) with real and folid merit. 
 
 After the death of Sir Peter Lely he advanced in the efteem of the public, and had the honour 
 to paint the portraits of King Charles II. King James and his Queen, and was appointed 
 ftate painter. He made nature his principal ftudy, without adopting the manner of any 
 mafter, and as far as he thought it prudent he improved or embelliftied it in his pictures ; 
 
 and, 
 
 * In the Chronological Tables it is affirmed that Riiey died in 1717, at the age of 71, which appears to be a very 
 great miftake j for the moll authentic writers aflert that he died in 169 1, at the age of 45. 
 
RIM [ 555 ] RIV 
 
 and, like many other men of genius, he feems to be more refpected by pofterity, than by 
 
 the age in which he flouriflied. 
 
 Orazio RIMINALDI. 
 Painted Hi/lory. 
 
 DIED 163O, AGED 32. 
 
 He was born at Pifa, in 1598, (though the Chronological Tables fix his birth in 1586) 
 and at firft was a difciple of Aurelio Lomi ; but he afterwards became the difciple of 
 Orazio Gentilefchi, at Rome. To the inftru&ions of that mafter he added an inceffant 
 application to the ftudy of the antiques, and a diligent obfervation of the excellencies of 
 the different modern matters ; fo that, on his return to his native City, he found encourage- 
 ment and employment, even beyond his expectation. 
 
 The pictures of this mafter which are raoft commended, are Sampfon deftroying the 
 Philiftines; the Brazen Serpent in the Wildernefs; and the Aflumption of the Virgin ; 
 by thofe he firmly eftablifhed his reputation, not only on account of the goodnefs of the 
 compofition, but for the beauty of the defign, the elegant choice of the attitudes, and the 
 free and firm ftyle of his colouring. 
 
 Unhappily he died of the plague when he was yet young, and at a time when there 
 was the greateft probability that he would arrive at the utmoft excellence in his profeflion, 
 
 Anthony RIVALS. 
 Painted Hi/iory, and Portrait. 
 
 DIED I735, AGED 68. 
 
 He was born in 1667, and was the fon of John Peter Rivalz, a painter of fome note, 
 who lived at Thouloufe, Where it is fuppofed Anthony was born. His firft knowledge in 
 the art of painting was derived from his father ; but his greateft improvement in defign 
 and compofition he derived from Le Fage. 
 
 Though he vifited Paris, and other cities of France, yet he perceived that at Rome only 
 he could perfect himfelf in the beft principles of his art ; and therefore directed his 
 courfe to that city, where he defigned after the antiques, after the works of Raphael, and 
 other celebrated artifts, and produced fome compofitions, which (according to the French 
 writers) excited the envy of the Italians when they were publicly exhibited. 
 
 One of the chief excellencies of Rivalz, confifted in copying the works of the great 
 matters ; and, by order of Cardinal Janfon, the French Ambaffador at Rome, he copied 
 a Holy Family from Raphael, which performance was fent to the French King, and it is 
 at prefent in the Royal collection. He likewife copied feveral pictures of Guido, 
 Caravaggio, and Valentino, which have (as the French authors affirm) deceived very able 
 onnoifleurs. 
 
 4 A ? The 
 
ROB 
 
 [ 556 ] 
 
 ROE 
 
 The ftyle of painting of this mafrer was bold, his invention ready, and his defign 
 correct; his local colours were true, and he gave his pictures a great deal of force by the 
 deepnefs of his fhadows, in the tafte of Caravaggio and Valentino ; but his colouring 
 was very unequal ; fometimes a leaden grey tint predominated, fometimes the red, and 
 often the blue, and reddifti brown. 
 
 ROBUSTI. Vid. Tintoretto. 
 
 Peter ROESTRAETEN. 
 Painted Portrait and Still Life. 
 
 DIED 1698, AGED 71. 
 
 He was born at Haerlem, in 1627, and became a difciple of Francis Hals, whofe ftyle 
 and manner he followed with great credit for fome years after he quitted that mafter, 
 principally painting portraits. But the tendency of his genius feemed to incline him 
 more to paint fubjects of ftill life; and in that ftyle he fhewed himfelf equal to any artifts 
 of his time. Nothing could poflibly appear with ftronger characters of nature and truth 
 than every object: he painted appeared in his compofitions. He grouped them with fkill, 
 and contrived the darker objects to be always fo placed as to give a ftriking luftre to thofe 
 that were naturally more bright, or more pellucid ; and by an artful management of the 
 chiaro-fcuro, produced a fuitable roundnefs and relief. 
 
 His fubjects generally were mufical inftruments, gold, filver, or chryftal vafes, china- 
 ware, agates, and fhells that were curious. His paintings were, for their neatnefs of 
 penciling and delicacy of colour, fuperior to thofe painted by any of his cotemporaries, 
 and in his time were fo highly efteemed, that many of them are faid to have been fold by 
 him for forty and fifty pounds a piece. But it ought to be obferved, that the prefent 
 improved tafte of the lovers of the art, makes them juftly confider all thofe kind of 
 fubjects with abundantly lefs regard than they feemed to be entitled to formerly; and for 
 that caufe, the works of Roeftraeten, notwithftanding their intrinfic merit, have propor- 
 tionably funk in their value. Yet even ftill it is impoftible to behold the veffels of gold 
 and filver, painted with fo much accuracy by this artift, with fuch uncommon luftre, and 
 fuch true imitation of nature, without commending them; though- at the fame time one 
 cannot avoid wifhing that fo able a mafter had employed his pencil on more interefting 
 fubjects. 
 
 Mr. Defcamps, and fome other writers alledge, that Sir Peter Lely diverted him from 
 painting portraits, out of a principle of envy and jealoufy, left he mould have found in 
 Roeftraeten too powerful a rival, promifing to procure him a greater advantage from his 
 pictures of ftill life than he could gain by portraits, and to enrich him by his recommen- 
 dation. But that ftory feems not to have any degree of probability, for the fame of 
 Lely was then fufficientry eftabliflied ; nor have we any attefted account of Roeftraeten's 
 
 2 _ extraordinary 
 
ROE C 557 3 ROE 
 
 extraordinary merit, except in the peculiar ftyle he purfued. Sir Peter did indeed moft 
 zealoufly recommend him, and by that means did really enrich him j but an impartial and 
 benevolent mind would conclude, that the recommendation rather proceeded from an 
 approbation of the work of that artift, than from fo fervile and fordid a motive^ as the. fear 
 of his becoming a competitor. And although Defcamps feems to hint, that the Englifh 
 nation is fo extravagantly fond of the works of Roeftraeten that they will hardly fuffer 
 them to be carried out of the kingdom (by fo falfe a fuggeftion depreciating the Englifh 
 tafte, which is allowed through all Europe to be far fuperior to the French), yet certainly 
 Mr. Defcamps muft have been of a very difFerent opinion had he been in England, and 
 had ever offered to become a purchafer of the pictures of this mafter ; for he would have 
 found the rates at which they are commonly fold very far inferior to their intrinfic value. 
 
 Conrade ROEPEL 
 
 Painted Fruits, Plants, and Flowers. 
 
 DIED I748, AGED 69. 
 
 He was born at the Hague, in 1679, and was a difciple of Conftantine Netfcher, who 
 defigned to form him to portrait painting ; but Roepel being of a weakly conftitution, 
 and ordered, for the benefit of his health, to refide in the purer air of the country, he took 
 fo much delight in his garden, that he became fond of painting plants and flowers, and 
 fucceeded beyond his hope. One of the greateft florifts at the Hague furnifhed him 
 with the moft beautiful flowers in his collection, to ferve him as models, in order to have 
 a picture painted after them for his own pleafure; and Roepel difpofed every object fo 
 agreeably, and finifhed the whole with fo much truth, nature, and clearnefs of colour, 
 that it at once eftablifhed his reputation and fortune. Such unexpected fuccefs deter- 
 mined him to devote himfelf entirely to that ftyle of painting; and in a fhort time he was 
 confidered as being equal to the belt artifts in that country, Van Huyfum only being 
 excepted. 
 
 By the folicitation of the Count Schaefbergen he was induced to vifit the Court of 
 the Elector Palatine, and he carried along with him one of his pictures, with which 
 the Eledlor was fo highly pleafed, that he paid him generoufly for it, employed him 
 immediately, and alfo honoured him with a gold chain and a medal, condefcending to place 
 the chain round the neck of the artift with his own hands. The reception which he met 
 with at Duffeldorp gave an additional value to his works when he returned to his own 
 country; and he found the number of his admirers and employers greatly increafed. 
 
 All thofe plants, fruits, and flowers, from which he compofed his fubjects, were care- 
 fully cultivated in his own garden; and in that place, which is reprefented as a delicious 
 retirement, he was vifited by perfons of the firft rank; a temperate life, and the innocent 
 amufements in which he delighted, prolonged his life beyond all expectation, as he was 
 naturally of a tender and weakly conftitution ; and at his death he was Director of the 
 Academy of Painting at the Hague. 
 
 Notwithftanding 
 
ROG 
 
 [ 558 ] 
 
 ROM 
 
 Notwithftanding the abundant merit of Van Huyfum, the works of Roepel are ver.y 
 highly efteemed in Holland j arid always afford large prices whenever they are to be 
 purchafed, 
 
 ROGER of Brussels. Vid. Vander Weyde. 
 
 Roland ROGHMAN, 
 Painted Landscape. 
 
 DIED 1686, AGED 89. 
 
 He was born at Amfterdam, in 1597, and learned the art of painting in his native cityj 
 ' but he formed his manner entirely by ftudying after nature, without attending to the 
 ftyle of any particular mafter. He travelled through feveral parts of Germany, merely 
 to furnifti himfelf with materials for future compofitions, defigning every fcene that 
 pleafed his imagination, every ruin, caftle, village, or building, which engaged his attention, 
 as well as the figures and cattle i thofe he generally Iketched on the fpot, and many of 
 them are ftill preferved in the -collections of the curious. 
 
 He had a firm and free manner of painting \ his keeping was tolerably good ; and fome 
 of his pictures have a pleafing effect: ; but there is a rawnefs frequently in his colouring j 
 his grounds and trees arc very often too brown, too dufky, and not of the tints of nature ; 
 and though his figures are ufually too much laboured, they Want elegance and character. 
 The choice of his fituations cannot be commended, nor is there a competent variety in the 
 forms of his trees to allure the eye agreeably ; but, in regard to many parts of his art, his 
 merit was confiderable. 
 
 It is by all writers mentioned to his honour, that a moft fincere and difinterefted friend- 
 iliip always fubfifted between Roghman, Rembrandt, and Eeckhout. 
 
 ROKES. Vid. Sorgh. 
 
 Giovanni Francesco ROMANELLI, Cavaliere. 
 Painted Hi/lory. 
 
 DIED l662, AGED 45. 
 
 He was born at Viterbo, in 1617, and was a difciple of Pietro da Cortona, who, with 
 inexpreflible fatisfaction, obferved the extraordinary proficiency of his pupil, and equally 
 loved and refpected him for the amiable difpofitions of his mind, as he admired him for his 
 comprehenfive capacity and genius. By the attention he mewed to the precepts of his 
 mafter, he became the beft, and the moft favourite difciple of Cortona j his ftyle and handling 
 were in imitation of that eminent artift j nor were his ideas or his compofition any way 
 inferior to him, and he was accounted, more correct ; though, in his colouring, his works 
 appeared much colder than thofe of Pietro. 
 
 His 
 
ROM 
 
 C 559 3 
 
 ROM 
 
 His invention waseafy and agreeable, his drawing correal, and he generally gave a great 
 deal of grace to the airs of his heads j . being therefore poflfeffed of fo many of the perfections 
 requifite to conftitute a great painter, it is no wonder that he fhould be confidered as one 
 of the beft ar tills of his time. 
 
 With an equal degree of freedom and fpirit he painted in oil and in frefco, but he was 
 accounted particularly excellent in the latter. For feveral years he was employed by the 
 French King, who honoured him with the order of St. Michael j and in that Court he 
 acquired a plentiful fortune, with abundant reputation. Having at laft finifhed, with 
 great applaufe, thofe grand defigns in which he had been engaged, he returned to Rome, 
 and fpent the remainder of his life in that city, as much beloved for his virtue as he was 
 admired for his merit. 
 
 His works are difperfed through moft parts of Europe, and are accounted an ornament 
 to the richeft collections. Two of Romanelli's pictures, which were efteemed as fome of 
 the beft of his performances, were tranfmitted from Italy to King Charles I j one was 
 a Bacchanal, and the other a Banquet of the Gods. 
 
 Urbano ROMANELLI. « 
 Painted Hijlory. 
 
 DIED l682, AGED 44, 
 
 He was the fon and difciple-of Giovanni Francefco, born at Viterbo, in 1638. He 
 painted in the manner and ftyle of his father, but was not in any refpect comparable to 
 him. And yet, fome of his copies after the works of Francefco, and alfo fome of his own 
 compofitions, have been afcribed to his father, though a judicious eye will readily difcem 
 the difference, efpecially in thofe which were defigned by Urbano, as they are very 
 deficient in regard to correctnefs and grace, which are always to be found in the genuine 
 works of Francefco. 
 
 Girolamo ROM AN I NO. 
 Painted Hijlory* 
 
 He was born at Rome, about the year 1504, but it is not afcertained by any writer 
 under what mafter he learned the rudiments and principles of painting. From Rome he 
 travelled to Venice, in order to complete his ftudies, and there perfected himfelf, parti- 
 cularly in the knowledge of colouring ; but having fpent feveral years in clofe application, 
 he vifited Brefcia, where he followed his profeflion with univerfal . applaufe. Vafari 
 recounts none of the works of this mafter, except what are to be feen at Brefcia j but 
 he fays there are in that city many proofs of his extraordinary merit* 
 
 No artift could be more celebrated than Romanino, for a, fine invention, for correctnefs 
 of defign, for the force and beauty of colouring, and a faithful refemblance of nature, 
 not unlike the ftyle and tint of Titian. He was accounted to be profoundly fkilled in 
 every branch of his art, and lived in as high efteem as any painter of his time. 
 
 5 He 
 
ROM 
 
 [ 560 ] 
 
 R O M 
 
 He finiflied a prodigious number of defigns in the churches, convents, and palaces at 
 Brefcia, in frefco and in oil; but his moft capital performance was a fcriptural fubjecl, 
 which he painted for the grand altar in the church of St. Francis in that city. In the 
 old Louvre at Paris, and principally in the apartments of Anne of Auftria, and the 
 gallery of Apollo, are feveral of his paintings in frefco ; which, though they are fome 
 of his earlier! effays, fhew more than the promife of an exalted genius. The corre&nefs 
 of the delign, and the graceful eafe of the draperies, not only afford pleafure to thofe 
 who are competent judges, but even to thofe who are no great adepts in the art. 
 
 ROMANO. Vid. Julio. 
 
 Theodore ROMBOUTS. 
 
 Painted Hi/iory and Converfations. 
 
 DIED 1637, AGED 40. 
 
 He was born at Antwerp, in 1597, and was a difciple of Abraham Janffens, under 
 whom his progrefs was remarkably great. In his twentieth year the defire he had to 
 improve himfelf, by feeing the works of the ancient and modern great artifts, induced 
 him to travel to Rome ; and not long after his arrival in that city, being engaged to paint 
 two fubjects taken from the Old Teftament, they proved a fortunate means of making 
 his merit known; they introduced him to the acquaintance and favour of the great; 
 and he had the fatisfaction to find a number of perfons very defirous to obtain fome of 
 his work. 
 
 While he continued at Rome he was induftrious to increafe his reputation, till he was 
 honoured with an invitation to Florence by the Duke of Tufcany ; and he executed 
 feveral grand compofitions for that Prince with fo much fuccefs, that he was not only 
 honourably rewarded for his performances, but he alfo received many valuable prefents 
 from the Duke, as marks pf his particular efteem. 
 
 At his return to Antwerp he found Rubens in the height of his glory, and had caufe 
 to perceive that his own abilities, though they were in reality very great, were much 
 obfeured by the perfections of that eminent matter. That obfervation not only excited 
 in Rombouts a ftrong emulation, which probably was not unattended with fome latent 
 degree of envy, but it likewife urged him to paint fome hiftorical pictures, confeffediy 
 in competition with Rubens : of which number were, St. Francis receiving the Five 
 "Wounds; Abraham offering up Ifaac; and an emblematical picture of Juftice, with her 
 Attributes, for the Court-houfe at Ghent; and in the latter fo much elegance appeared 
 in the compofition, that it is faid Rubens feemed furprifed when he faw it. 
 
 Certainly it cannot truly be affirmed that he was equal to Rubens, though in many 
 refpe&s he had extraordinary merit; and it may be efteemed as an honour to Rombouts, 
 that he was accounted to approach near to that celebrated artift. He had a lively genius, 
 a good imagination, and confiderable elegance in his ftyle of compofition. His figures 
 ; generally 
 
RON 
 
 f 561 3 
 
 RON 
 
 generally are near as large as life, and well defigned ; his pencil is free, his colouring 
 warm, and his exprefllon excellent. 
 
 It- was lamented, that he often demeaned his penciLby painting low fubjects, fuch as 
 mountebanks and their attendants, inns, taverns, and foldiers playing at cards, which he 
 did merely to get money; however, they were well executed, and much valued ; but the 
 hiftorical pictures of Rornbouts will for ever fupport his reputation, and make him appear 
 a very eminent mafter. 
 
 Christofano RONCALLI, called Pomerancio. 
 
 Painted Hijhry. 
 
 DIED 1626, AGED 74. 
 
 He was born at Pomerancio, in the territory of Tufcany, in 1552, and was a difciple 
 of Circignano; but his greateft improvement arofe from his designing after the antique 
 ftatues, and the beft paintings of illuftrious modern artifts. As foon as his works were 
 known, they engaged the public attention and efteem ; and he was employed by the 
 principal Nobility of Rome, and alfo for the churches and chapels. His performances 
 gained him the higheft applaufe for their lingular elegance of tafte and correct defign, 
 and he was defervedly ranked among the moft famous artifts of his time. 
 
 His engagements in fome of the principal cities of Italy detained him there for feveral 
 years, and his labours were repaid with honour and riches ; but afterwards he was 
 invited to different Courts of Europe, and he vifited Germany, England, Flanders, and 
 France; and in each country through which he travelled, every work he linifhed contri- 
 buted to add to his reputation. 
 
 N. RONTBOUT. 
 
 Painted Landfcape. 
 
 He was born in Flanders, and learned the art of painting in his native country; but 
 as the Netherlands could not fupply him with fuch a variety of fcenes as fuited his 
 genius, he determined to fearch them out in other countries. He directed his courfe to 
 Italy, through feveral parts of Germany and Switzerland ; and, as he ftudied entirely 
 after nature, he fketched every romantic fcene that occurred to him in his travels ; he 
 defigned moft of thofe delicious views which are in the neighbourhood of Rome, and 
 from thofe defigns he generally compofed his future landfcapes. 
 
 His pictures are incomparably painted, and having fo evident an appearance of nature 
 
 and truth, muft always afford pleafure to a judicious eye. His pencil is free and firm ; his 
 
 ikies are clear, and charmingly adapted ; his colouring is extremely good, particularly his 
 
 local colours; his figures, though perhaps not as elegant as might be wifhed, are yet 
 
 introduced with great judgment and propriety; and, by a fkilful management of the 
 
 chiaro-fcuro, his pictures have a ftriking effect. 
 
 4 B The 
 
RON 
 
 [ 562 J 
 
 R O 
 
 The paintings of this mafter are rarely to be met with, and afford confiderable prices 
 whenever they are to be purchafed. They may readily be known by the richnefs and 
 warmth of the tints in the fore-ground, by their fine perfpective, by an uncommon 
 tranfparence of colour, by the firmnefs and freedom of handling, united with delicate 
 finifhing, and by a peculiar form in many of his trees, refembling the pine or the larinx. 
 
 An excellent landfcape, painted by this mafter in his beft ftyle, is in the pofTeffion of 
 Thomas Cobbe, Efq. it reprefents a view of a bridge between two high hills; and in 
 perfpective under that grand arch is an agreeable profpect of a river, a diftant range of 
 hills, and an antique tower on the border of the ftream, which has a fine effect. The 
 name of Rontbout is infcribed on this picture. 
 
 John Albertz ROODSEUS. 
 Painted Portrait. 
 
 DIED 1674, AGED 59. 
 
 He was born at Hoorn, in 1615, was a difciple of Peter Laftman, became an exceed- 
 ing good painter of portraits, and was held in almoft as great efteem as Vander Helft. 
 He had a beautiful and fweet manner of colouring, and finifhed his pictures with neatnefs 
 and fpirit. 
 
 The figures . which he defigned were always as large as life, and he particularly 
 excelled in reprefenting perfons mooting at butts, in which fubjects the attitudes and 
 actions were natural and becoming ; and his paintings in that ftyle are much commended 
 and admired in Holland. 
 
 Jacques de ROORE. 
 Painted Hijlory and Converfations. 
 
 DIED 1747, AGED 6l. 
 
 He was born at Antwerp, in 1686, and received his firft inflections in painting from 
 Lewis Vanden Bofch ; but afterwards he ftudied for two years under the direction of 
 Vander Schoor, and at the laft was placed as a difciple with Van Opftal. He copied 
 the works of the beft mafters, and made fo good a proficiency, that he was appointed to 
 copy the St. Chriftopher of Rubens, which was intended for the Court of France; and 
 he finifhed it fo extremely exact, that it gave Van Opftal as much furprife as Satis- 
 faction, and he only flightly re-touched it in a few places. 
 
 As foon as De Roore had accomplifhed that work he commenced artift, and compofed 
 every fubjeft he painted, fometimes in the tafte of Van Orlay, and fometimes in the ftyle 
 of Teniers ; and for each picture his ufual price was fifteen pounds, and often much 
 more. So that in a few years his works were in fuch general efteem, that although 
 he was very laborious, he found it impoffible to anfwer the demands made for his per- 
 formances. 
 
 At 
 
ROO 
 
 r 563 ] 
 
 ROO 
 
 At Leyden, in a grand falon, he painted the hiftory of Achilles; and, on the deling, 
 the apotheofis of that hero, which added confiderably to his reputation. Several other 
 hiftorical fubjects of his compofition are recited with great commendation, among which 
 are, Brennus befieging the Capitol, and Antony prefenting a crown to Julius Casfar. 
 
 De Roore had a good genius, and a ready invention ; he compofed with eafe, but he 
 wanted that elegance and tafte of deflgn which he might have acquired by feeing Rome. 
 His colouring generally is agreeable, and his eafel pictures are finiftied with fuch delicacy 
 that they were exceedingly coveted; efpecially thofe which he painted in his latter time, 
 when, by obferving the works of the great matters, he had learned to avoid the appear- 
 ance of too much labour, and acquired greater freedom in his manner of handling. 
 
 John Hendrick ROOS. 
 
 Painted Landfcapes, Animals^ and Portraits, 
 
 DIED 1685, AGED 54. 
 
 He was born at Otterberg, in 1631, and at the age of nine years was placed with 
 Julian Jardeyn, at Amfterdam, where he continued for feven years ; but he afterwards 
 ftudied with Adrian de Bie, and profited fo exceedingly by the precepts and example of 
 that mafter, that he foon rofe to the higheft eminence in his profeffion. 
 
 His genius principally directed him to delight in painting landfcapes and cattle, 
 horfes, oxen, bulls and cows> fheep, goats, and camels, which he reprefented with the 
 utmoft truth and accuracy, as he defigned every object after nature; and he had habituated 
 himfelf to fuch fingular exactnefs, that, in every fpecies of animals which he painted, the 
 males and females were diftinguifhable at the firft fight. His landfcapes had uncommon 
 variety in the breaking of the grounds, in the cottages and huts of fhepherds, the 
 rocks, ruins, mountains, and falls of water, which he introduced with great propriety 
 and judgment, always adapting his fcenes to the particular hiftorical fubject he intended 
 to defcribe. For the moft part he chofe thofe kind of fubjects which admitted of the 
 largeft number, and the greateft variety of cattle ; fuch as, Jacob leaving Laban, and 
 driving his flocks and herds along with him; Efau meeting Jacob, his family, and cattle; 
 and Mofes tending the cattle of Jethro. In all his pictures the cattle were correctly 
 drawn, and penciled in a free, mafterly manner, with a touch that feems very peculiar 
 and full of fpirit. 
 
 For fome time he was employed at the Court of the Elector Palatine, where his 
 talents were defervedly refpected, and nobly rewarded. But although his principal 
 pleafure was in landfcape, yet he painted portraits in an admirable ftyle ; and on that 
 account he was invited to paint the portrait of the Elector of Mentz, which afforded 
 that Prince fo much fatisfaction, that he rewarded him liberally for the performance, and 
 prefented him with a chain of gold and a medal. At feveral other Courts in Germany 
 he had equal fuccefs ; and, befide being generoufly paid for his work, he had the honour 
 to receive fever,al chains of gold. 
 
 4 B 2 There 
 
ROO 
 
 [ J 
 
 R OO 
 
 There was one circumftance that rendered the portraits of Roos particularly agreeable, 
 which was, that he introduced in their baclc-grounds fome landfcape finely conducted, fo 
 as to add force to the principal object; fome fcene, diverfified with a pleafing diftant 
 profpect of groves and hills ; fome groups of cattle, charmingly difpofed and defigned; 
 or fome incident taken from facred or profane hiftory, which enlivened his pictures 
 furprifingly. By that means he acquired a confiderable fortune, and a very extenfive 
 reputation. 
 
 But, unhappily, he was almoft in an inflant deprived of that wealth, accumulated by 
 the labour of his whole life; for an accidental fire broke out in the city of Frankfort, 
 near the houfe of this artift ; and, as it happened during the ftillnefs of the night, it 
 fpread fo rapidly, that the dwelling of Roos was in a fhort time furrounded with the 
 flames. He might have efcaped unhurt; but in the confulion,, endeavouring to fave a vafe 
 of porcelaine that had a golden cover, he dropped it when he was nearly out of the: 
 houfe, and ftooping down to fearch for the cover, he was fuddenly fuffocated. He left 
 four fons, who were all painters, and proved very eminent in their profefTion. 
 
 Theodore ROOS. 
 Painted Portrait and Landfcapt. 
 
 DIED 1698, AGED 60. 
 
 This painter was the younger brother of Hendrick Roos, born at Wezel, in 1638. 
 He learned defign in the fchool of Adrian de Bie, but he continued only a few months 
 under his direction, when he quitted that matter, and fet up as an artift. For two years, 
 he followed his profeffion, but then altered his manner of life by meeting with his brother, 
 who at that time was in high reputation. Hendrick gladly communicated to him every 
 obfervation he had made for the improvement of his own knowledge in the art, and 
 gave him all the inftruction that feemed requifite or beneficial. From that time they 
 for fome years aflbciated together, particularly at the Court of HefTe, where they jointly 
 finifhed feveral noble works in the landfcape ftylc, and a great number of portraits, 
 which contributed to the honour and advantage of both. 
 
 When they feparated, Theodore went to the Court of the Elector Palatine, where his 
 paintings procured him many marks of favour ; and by that Prince he was appointed to 
 paint the portraits of the Duke of Orleans and the Princefs Palatine. Thofe pictures 
 he finiihed fo much to his own honour, and the approbation of the whole Court, that he 
 not only received an ample gratuity for his work, but was prefented with a gold 
 chain, to which was afRxed a rich medal impreffed with the heads of the Duke and 
 Duchefs of Orleans. 
 
 His manner was broad, eafy, and free, and his colouring was lively and ftrong;fo that it 
 was imagined by the ableft judges, that if he had for fome timeftudied at Rome, to improve 
 his tafte of defign, and render it equal to his colouring, none of his cotemporaries would, 
 have been his fuperiors. But he indifcreetly appropriated too fmall a portion of the early 
 
 5 part 
 
R O O 
 
 C 565 ] 
 
 R O O 
 
 part of his life to ftudy the principles of defign, or by practice to acquire corre&nefs } 
 and by that means he was ever after deficient in that point, although his compofitions 
 fhew fuch a ftrength of genius, as will render his works eftimable. 
 
 Philip ROOS, called Rosa da Tivoll 
 Painted Landfcape and Cattle. 
 
 DIED I705, AGED 50. 
 
 This artift was the fecond fon of John Hendrick Roos, born at Frankfort, in 1655, 
 and from his infancy fhcwed an extraordinary genius to painting. By the excellent 
 inftruction which he received from his father, his advancement in the knowledge of the 
 art feemed furprifing for his years ; and it particularly recommended him to the favour of 
 the Landgrave of HefTe, who became his patron, and prefented him with a futn of money 
 to enable him to go to Rome, where he might improve his promifing talents, intending 
 to employ him in his fervice whenever he returned to his own country. 
 
 On his firft entrance into Rome, happening to puis by the arch of Titus, he faw a few 
 young artifts attentively engaged in fketching the bafib-relievos j and, obferving that . 
 grand monument of antiquity to have a piclurefque appearance, he requefted a crayon 
 and paper from one of the ftudents, and in half an- hour produced a defign, finifhed with 
 incredible correctnefs and elegance, to the aftonifhment of them all. 
 
 The diligence of Roos at his ftudies was more remarkable than that of any of his 
 cotemporartes ; he laboured inceffantly, devoted his whole time to his improvement, and 
 omitted nothing that he thought might perfect him in his profeffion ; by which unremitted 
 practice he obtained fuch a readinefs of hand, fuch freedom and command of his pencil, 
 as have diftinguifhed him above all other artifts : and, on account of his expeditious 
 manner of painting, as well as the livelinefs of his imagination, the Bentvogel fociety 
 of painters at Rome called him Mercurius. He ftudied every object after nature, the 
 fites of his landfcapes, the cattle, ruins, buildings, figures, rocks, and rivers j and, to 
 enliven his imagination, he chofe to live at Tivoli, which furnifhed him with a lovely 
 variety. It was his cuftom to keep, in his own houfe, feveral of thofe animals which 
 he particularly intended for models ; and, on account of the number, and the different 
 kinds which he always maintained there, his houfe was generally called Noah's Ark; 
 however, it anfwered his intention effectually, for no painter ever imitated nature with 
 greater truth. 
 
 Though he had married a moft beautiful * woman, the daughter of Hyacintho Brandi, an 
 eminent hiftorical painter, and although he had been fo paffionately in love with her as to 
 change even his religion to obtain her, yet neither beauty nor her amiable qualities 
 could reftrain him from a life of extravagance and diflipation, which rendered him conti- 
 nually neceffitous. The ability he perceived himfelf poflefled of, in working with fuch 
 
 uncommon 
 
 * Vid. Hyacintho Brandi. 
 
ROO 
 
 [ 566 ] 
 
 ROO 
 
 uncommon expedition, induced him to truft too much to the rapidity of his pencil, and 
 impaired his fortune, though it happened not to injure his reputation in refpect to his 
 painting. 
 
 • It was cuftomary with him to ride from Rome to Tivoli, attended by his fervant, 
 whenever his purfe was exhaufted ; and alighting at the firft tavern he faw, he fat down to 
 paint, and in a fhort time finifhed a picture, which he fent directly by his fervant to be 
 difpofed of. But by this expedient, too frequently practifed, he increafed the number of 
 his pictures to fuch a degree, that the prices they afforded were not any way proportioned 
 to their value. His fervant, therefore, who appears to have had much more difcretion 
 than his mafter on that occafion, paid him the highefl: prices that were offered by others, 
 and referved the pictures till they became more fcarce, and more eagerly fought for, by 
 which conduct he acquired a confide'rable fortune. 
 
 Yet, though this great mafter painted fuch a number of pictures, it is obferved, as 
 an evidence of the livelinefs of his imagination, that in every one of his compofitions 
 there is a variety, either in the fcenes, the buildings, the groupes of cattle, or the 
 figures, in which refpect he proved himfelf eminently fuperior to the BafTans, who 
 introduce repeatedly the fame objects, and the fame figures and cattle, in almoft every 
 one of their defigns. 
 
 As an inftance of the incredible power of Roos in execution and invention, it is 
 recorded, that the Imperial AmbafTador, Count Martinetz, wagered a large fum of money 
 with a Swedifh General, that Roos would paint a picture, of a three-quarter fize, while 
 they were playing one game of cards ; and in lefs than half an hour the picture was 
 finifhed, though it confifted of a landfcape, with two or three fheep and goats, and one 
 figure. That wonderful proof of his readinefs and genius was amply rewarded by the 
 AmbafTador, for he beftowed on the artift one half of the fum that had been won by his 
 dexterity. 
 
 This mafter defigned his fubjects in a grand ftyle, and his defign is always correct ; his 
 colouring is bold, and full of force; his touch is remarkably free, firm, and fpirited; and 
 his fcenery is elegantly agreeable. His lights and fhadows are diftributed with peculiar 
 judgment, his figures and cattle are fkilfully grouped, and the hair and wool of his 
 animals have aftrong look of nature, and a bold effect, by the broad manner of his penciling. 
 His fkies, back-grounds, fituations and difb.nces, fhew an elegant choice and a mafterly 
 obfervation, as well as execution j and in every one of his compofitions we fee truth 
 and real nature. 
 
 It cannot but be regretted that, with fuch a genius, he fhould fo often be compelled 
 to paint out of necefiity, and rarely to fit down to employ his pencil, except to procure 
 an immediate fupply. His expenfive manner of living undoubtedly feemed to demand 
 fuch a readinefs of hand to fupport it ; but in thofe pictures which he handled with the 
 utmoft expedition, he paid fuch an attention to his fame, that he took care to finifli them 
 in fuch a manner as to render them juftly eftimable. 
 
 2 His 
 
R O O 
 
 [ 567 ] 
 
 R O S 
 
 His genuine works are, at this day, as much admired as they have ever been, and 
 produce very high prices j and they juftify one obfervation, which is, that what is truly 
 excellent, will always be truly valuable. 
 
 A capital picture by Rofa da Tivoli, reprefenting an herdfman with cattle, as large 
 as life, is at Wilton, the feat of the Earl of Pembroke. 
 
 John Melchior ROOS. 
 Painted LandCcape and Cattle. 
 
 DIED I73I) AGED 72. 
 
 He was a brother to Philip Roos, born at Frankfort, in 1659, and learned the art of 
 painting from his father. His fubjects were the fame as thofe of his brother; and he 
 fupported a good reputation at the Courts of Heffe, Wurtzburgh, and Brunfwick, where 
 he principally was employed, as alfo in his native city. 
 
 But although his fubjects were fimilar to thofe of Philip, yet his colouring and 
 penciling were extremely different, for the pencil of his brother was free, flowing, and 
 agreeable; but Melchior laid on his colours with fuch a body, that he feemed as if he 
 intended rather to model than to paint, as has been noticed in the colouring of Rembrandt. 
 
 S al vato r ROSA. 
 Painted Hijlory , Landfcapes, Battles, and Sea-Pieces. 
 
 DIED 1673, AGED 59. 
 
 This admirable painter was born at Naples, in 16 14, and received his firft knowledge 
 of defign and colouring from Francefco Francazano, who was his kinfman j but, by the 
 death of his father, being reduced to the loweft poverty, he was conftrained to provide a 
 maintenance by Iketching defigns on paper, and felling them at a very mean price to 
 any who feemed inclined to purchafe them. 
 
 In that wretched fituation he laboured for fome time, till one of his defigns, and an 
 hiftorical picture of Hagar and Iftimael, which he painted accidentally, happened to fall 
 into the hands of Lanfranc ; and that famous artift was fo affected with the fight of thofe 
 performances, that he eagerly enquired after the author, expreffed an eager defire to 
 know him, and, as foon as he faw him, took him under his protection, providing for him 
 generoufly. Such an unexpected and happy alteration in the circumftances of Salvator, 
 enabled him to be admitted into the fchool of Spagnoletto, and alfo to receive additional 
 inftruction from Daniel Falcone, a diftinguifhed painter of battles at Naples. Under the 
 direction of thofe matters he acquired more freedom of hand, and a much greater force 
 of colouring, and painted hiftory, landfcape, and battles, partly in the manner of 
 Spagnoletto, and partly in the ftyle of Falcone. 
 
 Salyator 
 
R O S X 568 ] ROS 
 
 Salvator had an enlarged and comprehend ve genius, a lively, fertile, and poetic 
 imagination. He ftudied nature with a fagacious attention and exquifite judgment, and 
 always chofe to reprefent nature in her utmoft grandeur and magnificence ; for every 
 tree> rock, fituation, or even cloud, that enters into his compofition, manifefts fuch an 
 elevation of thought as extorts our admiration. He compofed all his fubjecls in a grand 
 tafte, and was fingularly correct in his defign ; but he principally delighted in landfcape, 
 which he always enriched with elegant figures, reprefenting fome memorable incident 
 related by the Roman, Grecian, or fabulous hiftorians. The ftyle in which he painted 
 was formed by his own elevated genius ; nor was he indebted to any preceding artift for 
 any of his ideas, or for any traces of the manner which he always followed, though 
 many fubfequent mafters have obtained applaufe by endeavouring to imitate Salvator. 
 In the forms of his trees, and in the breakings of his grounds, a grandeur of thought 
 appears through all his compofitions ; the leafing of his trees is light, and admirably 
 touched j the figures have attitudes and actions that are eafy and natural, yet full of 
 dignity j and his expreffion is excellent. 
 
 Salvator was alfo equally eminent for painting battles, animals, and fea or land ftorms ; 
 and he executed thofe different fubjects in fuch a tafte, and with fuch fpirit, as make his 
 works readily diftinguifhed from almoft all others, by the inimitable freedom of his 
 pencil, and that fire which animates every compofition of this mafter. 
 
 His genuine works are exceedingly rare and valuable, but many of them are in the 
 rich and curious collections of the Englifh Nobility and Gentry. A moft capital picture 
 by Salvator is at Verfailles, of which the fubject is Saul and the Witch of Endor ; and 
 that fingle performance difplays the merit of the painter in the ltrongeft point of light. 
 The attitude of Saul is majefiic, while the expreiiion in his countenance is a judicious 
 mixture of anxiety of heart, and eagernefs for information. It is alfo obferved, by good 
 judges, that there is a dignity in the character of the witch, but it is a kind of dignity very 
 different from that of the monarch j it is enthufiafm. In the whole there is a wonderful 
 fpirit, and with that fpirit a freedom of pencil that very few have equalled. 
 
 ROSA da TIVOLI. Vid. Philip R o o s. 
 
 ROSALBA Carriera. i 
 Painted Portraits^ in Crayon and Miniature. 
 
 DIED I757, AGED 82. 
 
 This paintrefs was born in 1675, at Chioggia, a village about twenty-five miles from 
 Venice, belonging to the Dukedom of that city j and having fhewn early proofs of an 
 apt genius to painting, fhe was inftructed by Giovanni Diamantini, an artift of fome note, 
 from whom file learned defign, and alfo the art of painting in oil. In that kind of 
 colouring fhe copied a great number of the works of the beft mafters 5 but at laft applied 
 
 herfelf 
 
ROS [ 569 ] * s 
 
 "herfelf to miniature with extraordinary diligence, being ambitious to arrive at i'uch a 
 degree of perfection in that way as might enable her to contribute to the comfortable 
 fupport of her parents. 
 
 In the year 1700, when there was a great concourfe of eminent perfons at Venice, her 
 reputation was fo well eftablifhed, that me was continually employed, and her works 
 were by that means difperfed through every part of Europe. However, although flie had 
 all the fuccefs fhe could defire in her miniature paintings, me exerted all her abilities to 
 excel alfo in painting with crayons, and, after fome practice, became as eminent in that 
 manner of painting as flie had proved herfelf to have been in oil or miniature. 
 
 In 1709, Frederick IV. King of Denmark, paffing through Venice, fat to Rofalba for 
 his portrait; and, by his order, fhe made feveral copies of it, which were delicately and 
 highly finiflied. Soon after he employed her to paint twelve portraits of Venetian ladies, 
 which fhe performed fo much to his fatisfaction, that he condefcended to fhew her many 
 particular marks of his favour, and, befide gifts of great value, paid her for her work with 
 a truly royal munificence. 
 
 She vifited France in company with Pellegrini, who had married her fifter, and at Paris 
 had the honour to paint the Princes and PrincefTes of the blood, moft of the Nobility, and 
 many others of high diftinction. From thence fhe vifited the Courts of Vienna and 
 Modena; at each Court being carefled in a very fingular manner, fuitable to her extra- 
 ordinary merit. But at her return to Venice fhe determined that the remainder of her 
 days fhould be fpent in quiet, finding herfelf pofleffed of as much fame as fhe could 
 defire, attended with honour and riches. However, fhe was continually employed, and 
 in particular by the Englifh Nobility and Gentry, who adorned their own country with 
 her excellent performances. 
 
 To her own great affliction, and the regret of all admirers of the art of painting, fhe 
 was deprived of her fight by the incefTant application to her work; in which condition 
 fhe continued during the laft ten years of her life, and devoted all her time, as well as a 
 great part of her fortune, to acts of piety, charity, and univerfal benevolence. 
 
 The portraits of Rofalba are full of life and fpirit, exceedingly natural, and they had 
 ufually an agreeable refemblance of the perfons. Her colouring is foft, tender, and 
 wonderfully delicate; her tints are clear, and well united.; and fhe generally gave a 
 graceful turn to the heads, efpecially to thofe of her female figures. 
 
 Cosimo ROSELLI. 
 Painted Hifiory and Portrait. 
 
 DIED I484, AGED 68. 
 
 He was born at Florence, in 1416, and became an artifl of fome note in that city, by 
 having fuccefsfully painted the portraits of Picus Mirandola, and alfo of feveral of the 
 Florentine Nobility; having likewife painted fome hiftorical defigns in the convents and 
 chapels. 
 
 4 C Afterwards 
 
ROS T 570 3 R O S 
 
 Afterwards he was engaged to paint three pictures in the chapel of Pope Sixtus IV. 
 along with Sandro Boticello, Pietro Perugino, and others ; and his fubjedts were the 
 drowning of Pharaoh, the Laft Supper, and Chrift preaching near the fea of Tiberias i 
 fubjects which, it was faid, the Pope particularly chofe, who at the fame time promifed an 
 honorary premium for the beft performance. 
 
 Rofelli, who feems to have had but a mean opinion of the tafte of Sixtus, being 
 confcious that he could have no hope of furpafling the other artifts in colouring and defign 
 (in which parts of his profeffion his fkill was but indifferent), concluded he might conceal 
 thofe defects by giving his pictures an uncommon brilliancy. He therefore ufed the 
 pureft ultramarine, and the moft glaring colours, in every part of his painting, and 
 illuminated the trees, draperies, and principal objects with gold, fo as to dazzle the eye 
 at the firft fight, to compenfate for his want of a true and elegant tafte, by the glittering 
 richnefs of the general appearance j and he fatisfied himfelf with a certainty of fuccefs. 
 
 But, to the great mortification and difappointment of Rofelli, when the Pope went to 
 his chapel to obferve the work of the different artifts, thofe of Rofelli were univerfally 
 condemned and ridiculed ; and, by order of the Pope, the greateft part of his compofitions 
 were altered and retouched by thofe very painters who were his competitors. 
 
 ROSSO, called alio Maitre Roux. 
 Painted Hijlory and Portrait. 
 DIED I54I, AGED 45. 
 
 He was born at Florence, in 1496, and without any regular inftruction from a profeffed 
 artift, by the efforts of his own genius, he arrived at a confiderable degree of merit in 
 the art of painting. His firft attempts fhewed fufficiently the greatnefs of his talents, but 
 they likewife (hewed a want of that knowledge which he might have derived from the 
 precepts of an able mafter. 
 
 While he was yet young, he painted a few fubjects taken from the New Teftament, 
 which were in many refpe&s commendable ; but he afterwards, by obfervation and 
 experience, became as remarkable for his colouring, as for any other of his accomplifli- 
 ments. Even in thofe early productions, the countenances and the attitudes of the 
 Apoftles were above cenfure, although the draperies were rather too heavy. But he formed 
 himfelf by ftudying the works of Michael Angelo Buonaroti, and attended fo accurately to 
 anatomy, that he wrote two treatifes on that fubject for the ufe of defigners. Roflb 
 fliewed great truth in his manner of defigning the human body ; his naked figures were 
 peculiarly beautiful, and their attitudes were proper and expreflive. The countenances 
 of his old men were remarkably well reprefented in many of his works j and he had fuch 
 a flow of invention, that his compofitions were always properly filled, nor did any part 
 feem deftitute of a fuitable ornament or decoration. 
 
 The ftyle of this mafter was very lingular j and although he derived his greateft 
 knowledge from the works of Buonaroti, yet he did not make him a model for his own 
 2 ' imitation. 
 
ROS 
 
 C 57i 1 
 
 ROT 
 
 imitation. He had fomewhat of a wildnefs and irregularity in his ideas and defigns, and 
 yet he had alfo fomewhat that engaged the approbation of the connoifleurs ; the exceeding 
 readinefs with which he invented and defigned, hindered him from ftudying either nature, 
 or the antique, as attentively as he ought, which occafioned that imperfection which is 
 obfervable in all his works. 
 
 It mutt however be acknowledged that he had a thorough underftanding of the mixture 
 of colours, and the proper diftribution of lights and fhadows, fo as to produce a good 
 relief j but in other relpects he followed the dictates of his own fancy more than the 
 dictates of judgment, or the rules of his art; and was lbmetimes guilty of fuch extra- 
 vagancy as was very injurious to his reputation. 
 
 At Rome, in the church of St. Salviati, is a picture of the Decollation of St. John, by 
 this matter ; and many of his works are at Perufia, Florence, Arezzo, and at Fontain- 
 bleau, in France. The wretched condition to which he was reduced, after he had loft all 
 his fubftance at Rome, when that city was pillaged, compelled him to feek the means of 
 re-eftablifhing his affairs, by vifiting France, and he there had the good fortune to fucceed. 
 The King and the Nobility ftiewed him every mark of efteem j he was appointed fuper- 
 intendant of the royal buildings and paintings, with a large pennon; and he lived in 
 affluence and honour. 
 
 The world was deprived of this artift by a very lingular accident. One Francefco da 
 Pellegrino, a Florentine painter, and a raoft intimate friend of Roifo, having paid him 
 a vifit, and Roflb being foon after robbed of a great Aim money, he fufpected, accufed, 
 and profecuted his friend, who was put to the torture, and endured it with fuch fortitude 
 of mind, that he was declared innocent. Pellegrino, as foon as he was releafed, publifhed 
 a juft and fevere ftate of his cafe, and appealed for jufticej but as Roflb had nothing to 
 plead in his j unification, and perceived that he muft be for ever branded with infamy, he 
 immediately fwallowed poifon, and died univerfally detefted. His principal work is in 
 the gallery of Fontainbleau, reprefenting the hiftory of Alexander, in twenty-four pieces. 
 
 ROSSI VICENTINO. Vid. Pasqualino. 
 
 Francesco ROSSI. Vid. Francesco Salviati. 
 
 Pietro ROTARI. 
 
 Painted Hijiory and Portrait, 
 
 He was alive in 1757, being then 50 — He was born at Verona, in 1707, of a noble 
 family, and was at firft taught defign only as an accomplifhment j but as he advanced in 
 years he grew fo paffionately fond of the profeflion, that he became the difciple of Antonio 
 Baleftra, who, obferving the pregnancy of his genius, took unufual care to inftruct him, 
 and foretold that excellence to which he afterwards arrived. 
 
 4 C 2 At 
 
R O T 
 
 [ 572 J 
 
 ROT 
 
 j At the age of eighteen he went to Venice,. and continued there for two years, ftudying 
 after the works of Titian and Paolo Veronefe j but for his farther improvement he 
 travelled to Rome, and fpent four years in continual application to copy the antiques, and 
 other curiofities of art in that city, under the direction of Francefco Trevifani ; and after- 
 wards vifi ted Naples, merely out of a defire to converfe with Solimena, with whom he 
 refided for three years, with equal fat is fact ion and advantage. By that courfe of ftudy, 
 he gained an elegant tafte of compofition and defign, and a Angular degree of correctnefs 
 in his drawing, with a ftyle of colouring that was exceedingly beautiful i fo that, when he 
 returned to his native city, he appeared fo completely accomplifiied, that his works were 
 highly admired, not only, by his own countrymen, but by foreigners from all parts of 
 Europe who vifited Verona. 
 
 For fome time he declined employment, but at laft he found it impoflible to refift the 
 importunate felicitations of many of the Princes and ecclefiaftics of Italy, who were eager 
 to have their churches and palaces adorned by his pencil. He therefore undertook, and ; 
 executed feveral grand defigns, in difFerent cities of Italy ; and having finifhed thofe works 
 with extraordinary applaufe, he vifited moft of the Courts of Germany, and at every place 
 his reputation procured him a generous reception. But he was more particularly 
 honoured at Drefden and Vienna, where he painted the portraits of the Electoral and 
 Imperial family j and, by the Emperor's order, the portrait of Rotari was placed in the 
 Florentine gallery, among the moft famous artifts. While he continued at Vienna, Count , 
 Beftuchef, Grand Chancellor of Ruffia, invited Rotari fo earneftly to go to the Court of 
 Peterfburgh, that at laft he determined to undertake the journey. In the year 1756 he 
 arrived at Peterfburgh, and painted the portraits of the Czarina, of Peter, at that time 
 Grand Duke of Ruffia, and his confort Sophia Auguftaj and, for the Emprefs, he finiflied. 
 feveral hiftorical pictures from facred and profane hiftory, which were efteemed to be 
 excellent performances. One in particular is very highly commended, of which the 
 fubject is the Continence of Scipio; it is compofed with great judgment and tafte, it is 
 full of elegance and truth in the expreffion, and exceedingly beautiful in the colouring* 
 
 John ROTHENAMER. 
 Painted H'tflory. 
 
 DIED 1604, AGED 40. 
 
 This painter was born at Munich, in 1564, where he was taught the rudiments of the 
 art by one Donouwer, an indifferent artift, whofe infuificiency appeared fo. evident to 
 Rothenamer, when his knowledge in the art was more advanced, that he determined no 
 longer to mifpend his time with fuch an inftructor, but to feek for real improvement at 
 Rome.. 
 
 When he firft offered his works to the public, he painted hiftorical fubjects on copper, 
 of a fmall fize, very delicately penciled, and agreeably coloured ; but foon after he finiflied 
 
 a picture 
 
ROT 
 
 [ 573 ] 
 
 •R O U 
 
 a picture of a very large dimenfion, reprefenting the Saints in Glory, which added greatly 
 to his reputation, as it mewed a good invention, good colouring, considerable elegance in 
 the airs of his heads, and variety in the draperies. And it appeared very extraordinary to 
 the judicious of that time, to fee him adapt his pencil fo happily to compolitions of fuch 
 different fizes, and change his manner with fo good an execution. 
 
 From Rome he went to improve himfelf at Venice, particularly in colouring, and fixed 
 on Tintoretto as his model, which he always endeavoured to imitate, not only in his 
 colouring but in his tafte of delign, and the manner of his difpofing the figures. He 
 painted both in frefco and in oil, but was much more pleafed by being employed in the 
 former than in the latter, becaufe it afforded him the opportunity of painting in large, for 
 which he had a prevalent inclination, though his fmall paintings on copper were generally 
 in greater efteem, and even in his life-time were fold for a very high price. 
 
 On his quitting Italy he fettled at Augfbourg, where are ftill to be feen a number of 
 the works of Rothenamer; and although he had fpent a great many years at Rome and 
 Venice, by which he had learned to delign with more elegance, and with a nearer approach 
 to the graceful than moft of his countrymen who were his cotemporaries, yet he could 
 never totally diveft himfelf of the German tafte. It is eafy to perceive that he was fond 
 of defigning naked figures, and in fame of them he was very fuccefsful. He had a ready 
 invention, and his defign was tolerably correct ; his attitudes were ufually genteel, his 
 tone of colouring was agreeable, and his pictures were well finilned ; but he mewed his 
 greateft excellence in his fmall-fized paintings, in which he had the good fortune to be 
 ailifted by two celebrated artifts, Paul Bril and the Velvet Brueghel, who frequently 
 painted the landfcapes and back-grounds of his hiftorical compofitions. 
 
 The Emperor Rodolph II. was a great benefactor to Rothenamer, and for that Monarch 
 he painted the Banquet of the Gods, in which he introduced a multitude of figures, and 
 gained a very high reputation by that performance. However, the indifcretion of this 
 mafter was at leaft equal to his merit; for notwithftanding the large fum of money acquired 
 by Rothenamer for his works, which Sandrart allures us was fourfcore thoufand florins, 
 yet he contrived to be perpetually neceffitous by his profufion and extravagance, and died 
 fo extremely poor, as to be buried at the expence of his friends. 
 
 James ROUSSEAU. 
 
 Painted Land/cape^ Perfpeflive, and Architecture* 
 
 DIED 1694, AGED 68. 
 
 Though the writers who mention this artift agree that he learned the art of painting 
 from Herman Swanefeld, yet they all fuppofe him to have gone afterwards to perfect: 
 himfelf in Italy. But as it appears from the moft authentic accounts, that Swanefeld went 
 from his own country to Rome when he was very young, and there became the difciple 
 of Claude Lorraine i that he fpent his whole life, from that time, in or near the city 
 
R O If 
 
 E 574 ] 
 
 R O Z 
 
 of Rome, and died there; it can hardly feem probable that RoufTeau, who was only fix 
 years younger, could receive any inftructions from Swanefeld, except in Rome; and muft 
 therefore have obtained his firft knowledge in the profeflion before he went to Italy, from 
 fome mafter in his own country, though that circumftance is no where mentioned. 
 
 He was born at Paris, in 1626.; and being allied to Herman Swanefeld, an excellent 
 painter, who had been the difciple of Claude Lorraine, he was by him eftablimed in the 
 true principles of the-art, and acquired a ftyle and manner exceedingly agreeable. When 
 he had laid a good foundation under the conduct of fo able an artift, being determined to 
 neglect nothing that might conduce to his improvement, he ftudied after nature with 
 incefTant pains and care, and alfo after the works of the moft eminent painters of Italy, that 
 his imagination and his judgment might be equally improved. He particularly ftudied 
 perfpective and architecture, was extremely curious in obferving and defigning the 
 magnificent buildings, ruins, and beautiful veftiges of antiquity, as well as the fcenes 
 that were proper for his landfcapes, and became an admirable painter in that iryle. 
 
 When he returned to his own country, he was employed by the French King in the 
 palace at Marly; b»t as the Proteftants were at that time under a moft rigorous perfecution 
 through every part of France, and as Roufleau was of that religion, he apprehended 
 himfelf to be infecure, either in regard to his life or his property, and therefore retired 
 to Switzerland, and afer wards to Holland. There he had the good fortune to be engaged 
 by the Duke of Montague to adorn his houfe in B.loomfbury, in conjunction with La Fofie 
 and Baptift ; and his paintings in feveral parts of that noble building, which now is the 
 Britifti Mufeum, are a fufficient proof of his abundant merit. 
 
 In the choice of his fcenes he (hews remarkable elegance of tafte ; his grounds arc 
 well .broken, his diftances well conducted, his Ikies finely imagined, as well as judicioufly 
 adapted, and there appears great harmony in moft of his compofitions. He ornamented 
 his landfcapes with edifices and ruins, in the Roman tafte of architecture, after the manner 
 pf Pouflin ; his figures were placed in fuch perfpective proportions as deluded the eye 
 agreeably to the proper point of fight i and in his architecture we fee elegance of fancy 
 united with nature and truth. 
 
 The pictures of this mafter are not frequently to be purchafed ; and when they are, their 
 eftimation is high. He was a man of probity, piety, and benevolence ; and at his death 
 he bequeathed the greateft part of his fubftance to relieve thofe in England who, like 
 himfelf, were refugees on account of the French perfecution. 
 
 Mademoiselle ROZEE. 
 Painted Hi/lory., Landfcape y Portrait^ and Flower*. 
 
 DIED 1682, AGED 50. 
 
 She was born at Leyden, in 1632, and proved the moft extraordinary paintrefs that 
 perhaps ever appeared. Houbraken fays he cannot tell how flie managed her work, nor 
 
 with 
 
R 6 z 
 
 C 575 ] 
 
 RUB 
 
 with what inftruments, but that fhe painted on the rough fide of the panel, in fuch tints, 
 and in fuch a manner that, at a competent diftance, the picture had all the effect of the 
 neateft pencil and high finifliing. 
 
 Yet other writers affirm, that me neither ufed oil nor water-colours in her aftoniftiing 
 performances, and only worked on the rough fide of the panel, with a preparation of 
 filk flofs, felected with inexpreffible care, and difpofed in different boxes, according 
 to different degrees of the bright and dark tints, out of which me applied whatever 
 colour was requifite for her work, and blended, foftened, and united the tints with fuch 
 inconceivable art and judgment, that fhe imitated the warmth of flefh with as great a 
 glow of life as could be produced by the moft exquifite pencil in oil, nor could the niceft 
 eye difcern, at a proper diftance, whether the whole was not the work of the pencil, till 
 it was more nearly examined. But, by whatever art her pictures were wrought, they 
 were truly beautiful, and like nature. Her portraits had as ftriking a likenefs as poffible, 
 and every object was a juft imitation of her model, whether her fubject was portrait, 
 architecture, landfcape, or flowers; and as her manner of working could not well be 
 accounted for, fhe was diftinguiflied by the name of the Sorcerefs, as if her work had 
 been the effect of magic. 
 
 One landfcape of her painting (according to Houbraken) was fold for five hundred 
 florins; the fubject of the defign was only the trunk of an old tree covered with mofs, 
 and a large fpider finifliing its web among the leaves and branches; but every part 
 appeared with fo great a degree of force, fo relieved, fo true, and fo natural, that it was 
 always beheld with aftonifhment. One of her principal performances is in the cabinet of 
 paintings at Florence, for which me received a very large gratuity, and it is confidered 
 as a very Angular curiofity in that celebrated collection. 
 
 Sir Peter Paul RUBENS. 
 
 Painted Hi/lory, Portraits, Landfcapes, and Animals, 
 
 DIED 164O, AGED 63. 
 
 This admired artift was of a diftinguifhed family at Antwerp ; but his father, being 
 under a neceflity of quitting his country to avoid the calamities attendant on a civil war, 
 retired for fecurity to * Cologne, and during his refidence in that city Rubens was born, 
 in 1577. 
 
 From his infancy he difcovered a lively and prompt genius, and was therefore educated 
 with great care in every branch of polite literature when his family returned to Antwerp, 
 after the troubles ; and as he Ihewed a particular inclination to defign, he was at firft 
 inftructed by Tobias Verhaecht, a painter of architecture and landfcape. Afterwards he 
 ftudied under the direction of Adam Van Oort, but he foon perceived that the abilities 
 of Van Oort were infufficient to anfwer his elevated ideas and befides, his temper, which 
 
 for 
 
 * In the Anecdotes it is faid he was born at Antwerp. 
 
RUB [ 576 3 R u B 
 
 for the moft part was furly and morofe, was difguftful to Rubens, whofe natural difpofition 
 was modeft and amiable. 
 
 Thofe circumftances induced him to place himfelf as a difciple with O&avio Van Veen, 
 a painter of fingular merit, more generally known by the name of Otho Venius, who 
 was not only thoroughly {killed in the true principles of the art, but was alfo eminent for 
 his learning and other accomplifhments. Between that mafter and his difciple there 
 appeared an uncommon fimilarity of tempers, inclinations, and ftudies, which animated 
 Rubens with a more ardent love to the art, v and induced him to purfue it as a profeffion. 
 He gave up to it his whole thought and application, obferving and imitating his mafter 
 with fuch difcernment and readinefs of execution, that in a fhort time he became his 
 equal. 
 
 Sandrart, who was intimately acquainted with Rubens, and accompanied him when he 
 travelled through Holland, tells us that the Archduke Albert, Governor of the Nether- 
 lands, conceived fo high an opinion of Rubens, from the accounts he had received of his 
 fuperior talents, that he engaged him in his fervice, employed him to paint feveral fine 
 defigns for his own palace, and * recommended him in the moft honourable manner to the 
 Duke of Mantua, in whofe Court he might have accefs conftantly to an admirable 
 collection of paintings and antique ftatues, and have an opportunity of improving himfelf 
 by ftudying as well as copying the former, and defigning after the latter. On his arrival at 
 Mantua he was received with a degree of diftinction worthy of his merit; and while he 
 continued there, he added confiderably to his knowledge, though he attached himfelf in a 
 more particular manner to the ftyle of colouring peculiar to the Venetian fchool. 
 
 From Mantua he vifited Rome, Venice, and other cities of Italy, and ftudied the 
 works of the greateft painters, from the time of Raphael to his own, and accom- 
 plifhed himfelf in colouring, by the accurate obfervations he made on the ftyle of Titian 
 and Paolo Veronefe. However, he neglected to refine his tafte as much as he ought by 
 the antique, though moft of the memorable artifts in painting had fublimed their own 
 ideas of grace, expreffion, elegant fimplicity, beautiful proportion, and nature, principally 
 by their making thofe antiques their perpetual ftudies and models. 
 
 In a few years die fame of this mafter flew through every part of Europe, nor were 
 the works of any painter more univerfally admired or coveted. His diftinguifhed powers 
 in the art procured him employment for the ornaments of churches, convents, palaces of 
 the principal crowned heads, and the houfes of the nobility and gentry of all nations; 
 whilft his learning, his politenefs of manners, and amiable accomplifhments of mind, 
 
 introduced 
 
 * De Piles reprefents this tranfaftion in a different manner, ar.d fays that Rubens wenttfrom Antwerp to Venice, and 
 in that city commenced an acquaintance with one of the Duke of Mantua's gentlemen, who invited him into the fervice 
 of that Prince. 
 
 However Sandrart's account feems to be much more authentic ; it has an appearance of greater probability and truth, 
 and is alfo a much more honourable teftimony of the early reputation of Rubens. But certainly the account of Sandrart 
 deferves to be preferred to any other, as he was perfonafly intimate with that illuftrious painter of whom he writes. 
 
RUB 
 
 [ 577 ] 
 
 RUB; 
 
 introduced him to the particular affection of the Kings of England, 'Spain,, and other 
 Mouarchs, by each of whom he was careffed, honoured, and fplendidly rewarded . He was 
 even employed in a minifterial capacity by the King of Spain, to make overtures from 
 that Court to the Court of London ; and although the rank of Rubens would not permit 
 King Charles I. to receive him in a public character, yet he fhewed him all poffible 
 marks of refpect, on account of his excellence in his profefnon; and having engaged him 
 to adorn fome of the apartments at Whitehall, he conferred on him the honour of knight- 
 hood, as a public acknowledgement of his merit. That tranfaction has been fhamefulJy 
 mifreprefented by fome French writers, who, through an excefs of ignorance and effron- 
 tery, have abfurdly affirmed, that Rubens was knighted by the King, fitting on his throne 
 in full parliament. 
 
 The extenfive knowledge of Rubens in claflical and polite literature, qualified him to 
 excel in allegorical and emblematical compofitions j and the public may fufficiently judge 
 of his genius, in that manner of defigning, by his paintings in the Luxemburgh gallery, 
 which defcribe the life of Mary de Medicis ; and which are too well known to require 
 a particular defcription, the prints after thofe celebrated defigns being in the hands of 
 raoft of the lovers of the art. 
 
 His ftyle of colouring is lively, glowing, and natural; his expreflion noble and juft; 
 and his invention amazingly fertile. His pencil is mellow, his execution remarkably 
 free, and his pictures are finifhed in fuch a manner as to produce a pleafing and a ftriking 
 effect. He is by all allowed to have carried the art of colouring to its higheft pitch ; for 
 he fo thoroughly underftood the true principles of the chiaro-fcuro, and fo judicioufly and 
 happily managed it, that he gave the utmoft roundnefs, relief, and harmony to eacli 
 particular figure, and to the whole together; and his groupes were difpofed with fuch 
 accurate fkill, as to attract, and indeed generally to compel the eye of the fpectatar to the 
 principal object. His draperies are fimple, but grand, broad, and well placed ; and his 
 carnations have truly the look of nature, and the warmth of real life. The greateft 
 excellence of Rubens appeared in his grand compofitions ; for, as they were to be feen at 
 a diftance, he laid on a proper body of colours, with an uncommon freedom of hand, and 
 fixed all his different tints in their proper places ; by which method he never impaired 
 their luftre by breaking or torturing them, hut touched them only in fuch a manner as 
 to give them a lafting force, beauty, and harmony. 
 
 As the demand for his works from all parts of Europe was incredibly great, he inftructed 
 a number of young men of genius as his difciples, who amfted him in the execution of his 
 defigns. He fketched in fmall what they were to paint in large j and afterwards he 
 infpected the whole, pointed out to them their imperfections, directed them in the manage- 
 ment of their colours, and, by his own free, fpirited, and judicious retouching, gave the 
 whole an appearance of being only the work of one hand. However, although that 
 method of expediting grand undertakings might foon enrich fuch a mafter as Rubens, 
 yet it was more for his immediate profit, than for any great addition to his fame; 
 
 4 D becaufe 
 
RUB [ 578 3 R U G 
 
 becaufe many of thofe works, combinedly painted by his difciples and himfelf, are 
 inferior in feveral refpects to others which are entirely of his own pencil j although 
 fome of thofe difciples became afterwards exceedingly famous, as Vandyck and Snyders. 
 
 He alfo painted landfcapes admirably, in a ftyle fcarce inferior to Titian, with unufual 
 force and truth, though the forms of his trees are not always elegant. But, notwithftanding 
 his extraordinary talent for painting landfcapes and animals, yet, where thofe fubjedts were 
 to be introduced into his compofitions, he rarely painted them with his own hand ; but 
 employed Wildens and Van Uden for the former, and Snyders for the latter, who finifhed 
 them from the defigns of Rubens. 
 
 Undoubtedly that great artift poflefled "many excellencies and accomplifliments in his 
 art ; it is however generally allowed, that he wanted corredtnefs in his drawing and defign, 
 his figures being frequently too fhort and too heavy, and the limbs in fome parts very 
 unexact in the outline. And although he had fpent feveral years in Italy, where he 
 ftudied the antiques with fo critical an obfervation, as not only to perceive and underftand 
 their beauties, but even to write a differtation on their perfections, and the proper ufe an 
 artift ought to make of them, yet his imagination was fo prepoflefTed with that nature, 
 with which from his youth he had been converfant in his own country perpetually, that 
 he could never wholly diveft himfelf of his national tafte, though, to confider him upon 
 1 the whole, he was one of the greateft painters. 
 
 It is the obfervation of Algarotti, that he was more moderate in his movements than 
 Tintoretto, and more foft in his chiaro-fcuro than Caravaggio j but not fo rich in his 
 compofitions, or fo light in his touches, as Paolo Veronefe j and in his carnations always 
 lefs true than Titian, and lefs delicate than Vandyck. Yet he contrived to give his 
 colours the utmoft tranfparency, and no lefs harmony, notwithftanding the extraordinary 
 deepnefs of them j and he had a ftrength and grandeur of ftyle, peculiarly and entirely 
 his own. 
 
 -It would require a volume to recite and defcribe the prodigious number of pictures 
 painted by this truly famous artift ; every part of Europe poffeffing fome of the produc- 
 tions of his pencil. Many of them are in the elegant collections of the nobility and 
 gentry of Great Britain and Ireland ; and fo many prints have been engraved after his 
 defigns, that a particular defcription t of any of them feems to be the lefs neceflary, as 
 they are fo univerfally known. 
 
 George Philip RUGEND AS. 
 Painted Battles. 
 DIED I742, AGED 76. 
 
 He was born at Augfbourg, in 1666, where he became the difciple of Ifaac Fifches, a 
 painter of hiftory, with whom he continued five years j and that matter, who loved him 
 
 for 
 
RUG 
 
 C 579 ] 
 
 RUG 
 
 for his difcretion as well as his diligence, took pains to improve him, by procuring for 
 him fome original paintings of Bourgognone, and other eminent painters of battles, that 
 he might ftudy and copy them. 
 
 By fome unaccountable weaknefs in his right hand he was almoft difqualified for 
 following his profeffion ; but by patience and application he acquired fo much power with 
 his left, that he ever after ufed it as readily as the other. However, after fome years, a 
 bone, which from his infancy had difabled his right hand, difcharged itfelf without any 
 affiftance of art, and he gradually regained the perfect ufe of it, fo as to work with both 
 hands with an equal degree of eafe. He had gained a confiderable (hare of knowledge in 
 deiign and colouring, under the direction of Fifches ; but his principal improvement was 
 derived from the instructions of Molinaer or Molinaro, a hiftory-painter at Venice, whofe 
 compofitions were in high efteem ; and he alfo added to his (kill by vifiting Rome, and 
 ftudying the works of thofe great mafters whofe ftyle fuited the turn of his own genius. 
 
 When he had finiflied his ftudies in Italy, he returned to his native city Augfbourg, 
 where he found fufRcient employment ; but as that city happened to be befieged in a fliort 
 time after, Rugendas had an opportunity (though probably not a very defirable one) of 
 defigning attacks, repulfes, and engagements, around his own dwelling j and he 
 very frequently ventured abroad to obferve the encampments and ikirmifties of the 
 armies, from which he compofed his fubjects with great truth, and remarkable ex- 
 actnefs. 
 
 From the year 17 19 to 1735 he worked in mezzotinto, having an expectation of making 
 a large fortune for his family by his prints j and for feveral years it fucceeded to his wifti, 
 But at laft he found it neceffary to refume the pencil ; and although he was diffident of 
 his own ability to paint, after a difcontinuan^e of practice for fixteen years, yet, to his 
 furprife, as well as his fatisfaclion, he found himfelf as expert as ever. 
 
 This matter deferves to be ranked among the good painters of battles ; he was correct 
 in his defignj he difpofed his fubjects with judgment, and, by the aerial perfpective, threw 
 off his diftances in a very natural manner. His colouring, in fome of his performances, 
 is very commendable ; he executed his work with great freedom and eafe ; and although 
 he had a lively and fruitful imagination, he always confined himfelf to reprefent only fuch 
 objects, expreflions, actions, or attitudes, as he had obferved in nature. 
 
 Whenever he talked of his own works, he ufed to remark, that his firft performances 
 pleafed, by their colouring and the freedom of his pencil, though the defign was but 
 indifferent; that his fecond manner had more of nature, but was lefs agreeably coloured; 
 but, in his third and beft manner, he attended to the expreflion, difpofition, fpirited 
 action and attitudes, and alfo to fet his defigns off with a fuitable colouring. Thofe 
 pictures which are painted in his beft ftyle, were finifhed from the year 1709 to 17 16. 
 
 Rachel RUISCH. Vid. Pool. 
 
 4 D 2 Jacob 
 
R U Y 
 
 [ 580 ] 
 
 RUY 
 
 Jacob RUYSDAAL. 
 Painted Landscape. 
 
 DIED l68l, AGED 45. 
 
 This mafter was born at Haerlem, in 1636; and though the artift by whom he was 
 inftructed is not afcertained, yet it is affirmed, that at the age of twelve fome of his 
 productions furprifed the beft painters to whom they were fhewn. It is raoft certain 
 that a ftricl intimacy fubfifted between him and Berchem; and it is thought that Ruyfdaal 
 was animated with that fpirit which we fee in all his compofitions, by his connexion 
 with that admirable mafter ; for it afforded him an accefs at all times to the houfe of 
 Berchem, where he had a conftant opportunity to obferve his manner Of handling, 
 deftgning, and colouring ; and by that means to form a ftyle peculiar to himfelf, in 
 which he was accounted little inferior to the other. 
 
 However, nature was his principal inftructor, as well as his guide; for he ftudied her 
 inceffantly. The fcenes, trees, fkies, waters, and grounds, of which his fubjedls were 
 compofed, were all taken from nature, and flcetched upon the fpot, j uft as they allured his 
 eye, or delighted his imagination. Some writers affirm, that both Ruyfdaal and Berchem 
 improved their tafbe in Italy, by that beautiful variety of fcenery which is perpetually to 
 be obferved in the environs of Rome ; but other authors as pofitively affert, that neither 
 of thefe matters were ever in Italy. Yet whoever attentively confiders many of the 
 compofitions of Berchem, cannot but be almoft convinced that he muft have travelled 
 out of his own country, to collect fuch ideas of grand and elegant nature, as are 
 furnifhed in his works ; though perhaps by the ideas of Ruyfdaal, obfervable in moft of 
 his defigns, one could as readily believe that he had never travelled far from his 
 native foil. 
 
 No painter could poflibly polTefs a greater fhare of public efteem or admiration than 
 Ruyfdaal ; nor has the reputation of that artift. been impaired even to this day. The 
 grounds of his landfcapes are agreeably broken, his ikies are clear, his trees are delicately 
 handled, every leaf is touched diftinctly, and with a great deal of fpirit, and every part 
 has the look of true nature. He fhews that he perfectly underftood the principles of the 
 chiaro-fcuro, and alfo of perfpeclive ; for his diftances have always a fine effect, and his 
 maffes of light and fhadow are diftributed with fuch judgment, and contrafted with fuch 
 harmony, that the eye and the imagination are equally delighted. His works are 
 diftinguiihed by a natural andj>leafing tone of colour; by a free, light, firm, and fpirited 
 pencil; and alfo by a very agreeable choice of fituations. His general fubjects were 
 views of the banks of rivers ; hilly ground, with natural cafcades ; a country inter- 
 fperfed with cottages and huts ; folemn fcenes of woods and groves, with roads through 
 them; and water-mills; but he rarely painted any fubjecl: without a river, brook, 
 
 2 or 
 
RUY 
 
 C 58r ] 
 
 R Y C 
 
 or pool of water, which he exprefled with all poflible truth and tranfparency. He 
 likewife particularly excelled in reprefenting torrents and impetuous falls of water, in 
 which fubjects the foam on one part, and the pellucid appearance of the water in 
 another, were defcribed with force and grandeur, and afforded a true image of beautiful 
 nature. 
 
 As he could not defign figures with any degree of elegance, he was frequently affifted 
 in that refpecl: by Oftade, by Adrian Vander Velde, and often by Wouwermans, which 
 adds confiderably to the value of his pictures. Moft of the collections in England and 
 Ireland are adorned with fome of the works of this mafter j and in the Palazzo Ricardi, 
 as well as in the cabinet of the Grand Duke at Florence, are preferved fome excellent 
 landfcapes of his hand. 
 
 Solomon RUYSDAAE. 
 Painted Landscape. 
 DIED 1670, AGED 54. 
 
 He was born at Haerlem, in 1616, and was the elder brother of Jacob Ruyfdaal. He 
 -alfo was a painter of landfcapes, but in every refpect appeared far inferior to Jacob; 
 for the beft commendation given him by the writers on this fubject is, that he was a cold 
 imitator of Schoeft and Van Goyen. And although his pictures have fomewhat that is 
 plaufible, fufficient to engage the attention of thofe who are prejudiced in favour of the 
 name of Ruyfdaal, yet, to perfons of true judgment and tafte, they are in no great eftimation ; 
 and the eye is difgufted with too predominant a tint, of yellow, which is diffufed through 
 the whole. 
 
 He rendered, himfelf however considerable, by having difcovered the art of imitating 
 variegated marbles with furprifing exactnefs ; and he gave to his compofition an appear- 
 ance fo curioufly fimilar to the real marble, that it was fcarce poflible to difcern any 
 difference, either in the weight, the colour, or the luftre of the polifh. 
 
 Martin RYCKAERT. 
 Painted Landfcapes, with Architecture and Ruins* 
 
 DIED 1636, AGED 45. 
 
 He was born at Antwerp, in 1591, and gave very early proofs of a good genius to- 
 painting. He was for fome time under the care of Tobias Verhaecht as his difciple ; but 
 having frequent opportunities of feeing the paintings of fome very famous Italian 
 mafters, in the collections at Antwerp, to which he had accefs, and comparing the ftyle 
 of thofe mafters with that of his own countrymen, it infpired him with a commendable 
 ambition to vifit Rome, for his farther inftruction and improvement. 
 
 He 
 
RYC 
 
 C S82 ] 
 
 RYC 
 
 He fpent feveral years in Italy, and employed himfelf in defxgning the moft elegant 
 objects which offered themfelves to his obfervation ; in fketching the beautiful fcenes, 
 ruins, and edifices, that any where occurred to him. At his return to his native city, he 
 painted his pictures from thofe defigns which he had ftudied after nature, and gained 
 extraordinary applaufe, as well for the elegance of his choice, as for the goodnefs of the 
 execution. 
 
 As he was particularly curious in . taking the views of fortified towns, that fhewed 
 any uncommon appearance of grandeur, in order to introduce them in his own compofi- 
 tions, he very unthinkingly endangered his life, by drawing the view of the caftle of 
 Namur, which he intended as an ornament to one of his landfcapes : for while his 
 whole attention was engrofled by the fketch of that grand fortrefs, he was fuddenly feized 
 by the foldiers, and hurried to the governor ; and would have infallibly been put to death, 
 if the governor had not been^ with the utmoft difficulty, prevailed on to pardon him, by 
 the ftrongeft atteftations of his innocent intention, his probity, and his eminence in his 
 profeffion. 
 
 He was extremely efteemed by Vandyck, and by all perfons of diftin&ion in his own 
 country ; his works are very rarely to be purchafed, and are exceedingly prized by thofe 
 ivho poffefs them. 
 
 David RYCKAERT, the Young. 
 
 Painted Converfations and Apparitions to St. Anthony. 
 
 He was born at Antwerp, in 1615, and learned the art of painting from his father, 
 whofe name alfo was David. He principally ftudied and painted after nature, and his 
 lirft fubjedts were landfcapes; in which he introduced the huts and cottages of fhepherds 
 and farmers, which he exprefled with abundance of truth, and difpofed his figures and 
 every other objecl: with great judgment. But in fome time he undertook to imitate the 
 ftyle of Brouwer, Teniers, and Oftade ; and the value that was fet on his firft perform- 
 ances in that ftyle, was a fufficient inducement to him to perfevere. He continued 
 therefore to paint converfations, but he fucceeded beft in fubjecls that were bright, as he 
 had a peculiar art of managing his lights in an unufual manner, which had an extraordinary 
 efFe£r. ; and for that reafon he was fond of reprefenting figures by the light of a candle 
 or flambeau. 
 
 At firft he painted and defigned fubjec"ts that were agreeable and entertaining; but, 
 in his fiftieth year, he altered his ftyle of defign, and grew fond of reprefenting 
 imaginary and whimfical forms, with a fruitful wildnefs of fancy, fuch as apparitions, 
 no&urnal affemblies of witches and devils, temptations of St. Anthony, and fuch like, 
 in the manner of the Hellifh Brueghel ; and in fome of his defigns he reprefents the 
 devils flying away from the Crofs. And although fuch fubje£ts are but difagreeable, yet 
 ,by the fpirit of his touch, his penciling and colouring, and by the livelinefs of his 
 
 imagination, 
 
RYC 
 
 [ 5*3 1 
 
 RYX 
 
 imagination, he has given to his figures fuch variety and humorous expreffion, that they 
 had many admirers, and were very eagerly purchafed by the Archduke Leopold, and 
 feveral other Princes. 
 
 It is obferved of this mafter, that his firft works were not fo well coloured as thofe of 
 his latter time; his firft were rather too grey ; but afterwards his pictures had remarkable 
 warmth. The heads of his figures were painted with great art and precifionj but he 
 feems to have been too negligent of the hands and other extremities. 
 
 Peter RYSBRAECK, or Rysbrechts. 
 Painted Landfcape. 
 
 He was born at Antwerp, in 1657, and became a difciple of Francefco Millee, under 
 whom he very foon imbibed a fondnefs for the works of Pouflin, which he ever after- 
 wards retained. He ftudied him inceflantly, and at laft fo fuccefsfully imitated that 
 eminent artift, that feveral of the pictures of Ryfbraeck were fold for the paintings of 
 Gafpar. He livejd in great efteem at Paris, and was much folicited to continue in that 
 city i but he returned to his native city, and there followed his profeflion with credit 
 and with advantage. 
 
 Sometimes he painted in the manner of Pouflin, and fometimes in the ftyle of his 
 mafter Francefco Mille ; but, in all, his compofitions, he is a conftant imitator of thofe 
 two eminent artifts, though at the fame time he took care to ftudy and to imitate nature. 
 His manner of painting was expeditious, with a free and firm pencil, and a good tone of 
 colour; his figures and his trees are well defigned, and he finifhed his pictures with a 
 great deal of fpirit. However, it muft be confefled, that either through a want of genius 
 or invention, or by painting fuch a number of pictures as he did, his landfcapes have 
 not that pleafing variety which might be expected, though in other refpects they have 
 confiderable merit. 
 
 The works of this mafter ought not to be confounded with thofe painted by another 
 perfon of the fame name, who lived at Bruflels, whofe landfcapes are very indifferent, and 
 in no degree of efteem. 
 
 Nicholas RYX, or Ryckx. 
 
 Painted Landfcapes., and Views of Palefline. 
 
 This mafter was born at Bruges, in 1637, and i n tri at city learned the art of painting. 
 As foon as he had qualified himfelf to appear with credit in his profeflion, he undertook 
 a voyage up the Mediterranean, and travelled through many of the eaftern countries, 
 obferving exactly the habits of the different nations through which he journeyed, and 
 particularly attended to the manner of travelling peculiar to the Caravans. He fpent 
 fome years in Paleftine ; and in that country Iketched after nature the agreeable and 
 5 romantic 
 
SAC £ 584 ] SAC 
 
 romantic views of memorable places, which he intended for the fubje&s of his future 
 landfcapes j and when he returned to Bruges his compofitions were much coveted, as 
 they reprefented the profpects of Jerufalem, and the neighbouring, country, which were 
 enriched with a number of figures, horfes, and camels, touched with fpirit, and finifhed 
 with great freedom of hand and good colouring. His tafte of defign was much in the 
 manner of Vander Cable, but he was generally more clear 
 
 S. 
 
 Andrea SACCHI, or Ouche. 
 Painted Hijiory, Portrait^ and Architecture. 
 
 DIED l668, AGED 74. 
 
 This celebrated painter was born at Rome, in * 1594, and was a difciple of FranceTco 
 Albano ; with whom he fpent feveral years -in fuch clofe application, that at laft he was 
 accounted fuperior to his mafter in his tafte of defign, and in the correctnefs of his 
 drawing. He devoted a great part of his time to the ftudy of the antiques; he defigned 
 after them induftrioufly, and alfo added to his improvement, by making himfelf thoroughly 
 acquainted with the works of Raphael, and the moft illuftrious arttfts who preceded him. 
 By that method of conducting his ftudies, and by having an accurate judgment and tafte 
 to difcern the excellencies of . the -great mafters, he formed his own peculiar manner, 
 which had no refemblance to any of them ; and that manner he never altered. 
 
 He diftinguifhed himfelf in a very eminent degree by his paintings in frefco; and was 
 accounted to have no fuperior in that manner of working. A ftrong emulation, however, 
 fubfifted between him and Pietro da Cortona, as they were cotemporary artift-s ; as both 
 of them were men of genius, and extraordinary abilities ; and as both were equally 
 ambitious of immortalizing :themfelves by their works. And it is highly probable, 
 that by fuch a conteft for fame and honour, each of them arrived at a higher degree of 
 perfection in that kind of painting, than either of them might have done without fuch a 
 competition. 
 
 The ideas of Sacchi were grand and elevated; and he gave to his figures a beautiful, 
 and fine expreflion. The choice of his draperies is judicious, the difpofition of them is 
 
 delicate, 
 
 * The authors of the Abrege de la Vie des Peintres fix the birth of Andrea Sacchi in 1599, and his death in .1661, 
 at the age of 6z j but moft authors agree that he was born in 15941 and that he died in 1668, at the age of 74. 
 
SAC 
 
 [ 585 ] 
 
 SAC 
 
 delicate, and they Shew fuch an union of elegance and fimplicity, as is rarely to be met 
 with in other painters. His works are finifhed with uncommon care and exactnefs, and 
 they have fuch intrinfic merit in refpect of tafre, compofition, corredlnefs, elevation of 
 thought, colouring, and expreffibn, as will fecure the admiration and applaufe of the 
 judicious, and always render them truly valuable. 
 
 Some of the works of this mafter are in the principal churches at Rome; and parti- 
 cularly in the church of St. Peter is a picture of St. Auguftin; likewife in the church 
 of St. Jofeph, an altar-piece reprefenting the Angel appearing to Jofeph. But in the 
 Palazzo Barberini are feveral compositions of Sacchi, which are exceedingly capital, 
 especially an allegorical picture reprefenting divine Wifdom ; and it cannot be too highly 
 praifed, for the invention, the grandeur of defign, the delicacy of the expreflion, or the 
 fweetnefs of the colouring. He was a perfect mafter of perfpe&ive, and executed fome 
 very grand compofitions, with a multitude of figures and elegant architecture, in true 
 and beautiful perspective, at Rome, which procured him as much honour as any of his 
 other performances. The Subject of one of thofe paintings, was a defcription of the 
 military fports of the Roman youth on horfeback, which was exhibited with extraordinary 
 magnificence by order of the Pope. 
 
 Cornelius SACHTLEVEN, or Zaftleven. 
 
 Painted Land/capes, Drolls, Corps de Garde, and Farm-houfes. 
 
 He was born at Rotterdam, where he learned the art of painting ; but improved himfelf 
 by ftudying after nature, and carefully Sketching every object which he intended to infert 
 in his future compofitions. It is generally thought that he was the elder brother of 
 Herman Sachtleven; but appeared far inferior to him, as well in the choice of his 
 Subjects, as in the tone of his colouring; moft of the pictures of Cornelius being remark- 
 ably too yellow. C 
 
 He painted the infides of farm-houfes, as alfo the employments and recreations of 
 villagers, fometimes in imitation of the ftyle of Teniers, and fometimes in the manner 
 of Brouwer. Thofe ruftic fports in which he endeavoured to refemble the former, are 
 well defigned, and executed with a free pencil ; and when he imitated the latter, he gave 
 his pictures a great deal of force. His corps de garde are particularly commended, as 
 being well grouped ; and his converfations have a ftrong character of truth and nature, 
 with a tolerable degree of humour and expreflion. 
 
 On the fore-grounds of his pictures, which reprefented foldiers in their guard-room, 
 he ufually placed helmets, drums, armour, embroidered belts, and implements of war; 
 which he copied exactly from nature, and Shewed considerable judgment, by difpofing 
 them in fuch a manner as to produce an agreeable effect. 
 
 Herman 
 
SAC 
 
 [ 5S6 J 
 
 SAL 
 
 Herman SACHTLEVEN, or ZaPtleven. 
 
 Painted Landfcape. 
 
 DIED 1685, AGED 76. 
 
 He was born at Rotterdam, in 1609, and inftructed in the art by John Van Goyen, a 
 very celebrated painter of landfcape ; yet he did not confine himfelf to the manner of 
 that matter, but alfo ftudied the ftyle, tafte, and touch of other eminent artifts. He 
 determined, however, principally to attend to nature, as being the beft and moft unerring 
 director, and for his improvement made abundance of fketches, drawings, and defigns,. 
 which by the curious are accounted not the leaft valuable of his works. But the views 
 of nature in the Low Countries, where he was born, were by no means fui table to the ' 
 tafte of Sachtleven, as they could not furnifh him with a competent variety; there being 
 110 mountains or rocks in that tract to diverfify the fcene. He therefore went to ftudy 
 nature on the borders of the Rhine ; where, by the windings of that river, by the antique 
 edifices, the woods, the water-falls, and grounds differently broken, the views were more 
 picturefque, and more capable of affording him agreeable materials for his landfcapes. 
 It is alfo affirmed by fome writers, that he likewife vifited Italy, where he improved 
 himfelf confiderably j and certainly, all that induftry exerted to render himfelf eminent 
 in his profeffion, received its juft reward, in the univerfal approbation given to his works. 
 
 He took pains to finifli his pictures with extraordinary neatnefs, and by a light, free 
 touch, as well as by a fkilful management of the aerial perfpedtive, he gave to his diftant 
 hills, grounds, and trees, a very happy and pleafing effect. His fkies and diftances are 
 generally clear, and all his objects recede with perfpective truth j and although many of 
 the fcenes which he copied from nature, were not very ftriking from that point of view 
 where he flood to defign them, yet he had the fkill fo greatly to improve, vary, and enrich 
 them, by figures and buildings, that he made them agreeable fubjects in his paintings, 
 ft ill preferving the appearance of the real place which he defigned. 
 
 The pictures of Sachtleven painted in his beft manner are not very common, and are 
 highly efteemed ; and they may be known without much difficulty, by a neatnefs of touch, 
 in the figures and buildings ; by an endeavour to exprefs the vapour, between the eye and 
 the objects that are remote, like Berchem and Wouwermans ; and by a pleafing bluifh 
 tint in his diftances. 
 
 Ventura S A L I M B E N I, called Bevilaqjja. 
 Painted Hi/iory. 
 
 DIED 1 6l 3, AGED 56. 
 
 He was born at Siena, in 1557, and learned the art of painting from his father 
 Archangelo Salimbeni, a painter of principal note in that city. 'When he had made a 
 
 competent 
 
SAL [ 587 ] , SAL 
 
 competent progrefs in the knowledge of defign and colouring, he travelled through fe vera! 
 parts of Italy, particularly through Lombardy, and improved himfelf exceedingly, by his 
 obfervations on the celebrated performances of the great matters, which occurred to him 
 in his travels. But when he arrived at Rome, where he had fufficient opportunities to 
 ftudy the antiques, he there applied himfelf with fo much diligence, that he perfected 
 himfelf in defign, and acquired a good ftyle and manner of painting, which very much 
 jrefembled that of his brother Francefco Vanni, though it did not equal it. 
 
 He had a good invention, and great harmony in his colouring, as well as elegance in 
 his figures. While he continued at Genoa, he aflociated with Agoftino Tafli, an 
 excellent painter, who had been a difciple of Paul Bril ; and in the grand compofitions of 
 Salimbeni, the back-grounds .were painted by Taffi. This matter is more generally 
 known through Italy by the name of Bevilaqua, than by that of Salimbeni ; the Cardinal 
 Bonifacio Bevilaqua, who was his patron and his friend, having, from particular efteem, 
 given him that name. 
 
 The principal works of this matter are in the churches and convents in his native city 
 Siena, at Florence, Genoa, and Umbria, in all which cities his paintings were highly 
 commended j and at Wilton, in the collection of the Earl of Pembroke, there is a 
 picture reprefenting the Defcent of the Holy Ghoft, by this matter. 
 
 Van SALM. 
 
 Painted Sea-Pieces, in Black and White. 
 
 Neither Houbraken, nor Weyerman, mention any particulars relative to the time 
 when this artift was born, or died ; but his ftyle of painting makes it very probable, that 
 he was a difciple of Cornelius Bonaventure Meefter, commonly and corruptly called 
 Bo Meefters. 
 
 He had a remarkable manner of painting in black Ihd white, in imitation of drawings 
 with a pen j nor is it eafy to conceive how he managed his .pencil, fo as to give every 
 line the form and exact refemblance of the ftroke of the graver. His only fubjects were 
 fea-pieces and fea-ports, with a diftant view of the cities and towns ; and thofe fubjects 
 he ufualiy handled with a great deal of neatnefs. His fhips are correctly defigned, but 
 they want the elegance and grace of Vandervelde and Backhuyfenj nor have they the 
 freedom and delicacy of thofe executed by Bonaventure Meefter. In his reprefentation 
 of ftorms, the agitation of the waters is tolerably well exprefTed, though the waves often 
 appear hard; and in his calms the vefTels are agreeably difpofed. Some of his pictures, 
 indeed, are finifhed with fo much truth and fpirit7 that at firft fight they have all the 
 appearance of excellent drawings, nor do they lofe any of their merit, by a more minute 
 examination. But the pictures of Van Salm are not equally good, fome of them being far 
 fuperior to others j and even his bett are not in thefe kingdoms held in any great efteem 
 by the connoifleurs, 
 
 4 E 2 Giovanni 
 
SAL 
 
 [ 588 ] 
 
 SAL 
 
 Giovanni Battista SALVI, called Sassoferrato. 
 Painted Hijiory. 
 
 DIED I59O, AGED 86. 
 
 This mafter was born in 1504, at an ancient caftle on the borders of the territory of 
 Urbino, called Saflbferrato, from which he was afterwards named. Under what mafter 
 or in what city he learned the firft principles of his art is not afcertained, but he went to 
 Rome to ftudy the works of Raphael, which were then the admiration of the whole world; 
 and his knowledge was exceedingly promoted by the precepts of Francefco Penni, 
 Raphael's favourite difciple. 
 
 By the direction of that able artift, Salvi applied himfelf to copy the works of the moft 
 eminent in the profeflion ; and he at laft obtained fuch (kill, and fuch power of execution 
 in that manner of painting, imitating the ftyle and touch of every different mafter fo 
 admirably, that his pictures were generally taken to be real originals of thofe artifts of 
 whom they were only copies, or at the beft only imitations. 
 
 Giuseppe SALVIATI. Vid. Porta. 
 
 Francesco SALVIATI, or Rossi. 
 
 Painted Hijiory and Portrait. 
 
 DIED I563, AGED 53. 
 
 He was born at Florence, in 15 10 ; his parental name was Roffi ; but being taken into 
 the fervice of Cardinal Salviati, and honoured with his favour and protection, he was 
 ever after diftinguifhed by the name of his patron. He owed a great part of his early 
 inftruction to that intimate friendmip which he had contracted with Giorgio Vafari in their 
 youth ; for Vafari was the difciple of Andrea del Sarto, and communicated all the rules, 
 directions, and defigns, which he received from his mafter, to his friend Salviati, and 
 explained every precept in the moft clear and intelligible manner. However, neither of 
 thofe young artifts found their improvement under Andrea anlwerable to their fanguine 
 expectations, and therefore they placed themfelves with Baccio Bandinelli ; under whom 
 they made a greater proficiency in one month, as Sandrart aflerts, than in two years fpent 
 under the other. 
 
 Salviati foon rofe into high reputation, and was not only engaged by his patron 
 the Cardinal, but was employed alfo at the Pope's palace, in conjunction with his 
 friend Vafari. He painted with as much fuccefs in frefco and diftemper as in oil, and 
 acquired extraordinary honour by the cartons he defigned for tapeftry, reprefenting the 
 memorable actions of Alexander the Great. Nor did the pencil of Salviati appear to 
 lefs advantage in portrait than in hiftoryj many of the prime Nobility of Rome and 
 other cities of Italy were painted by him 3 and he gained extraordinary applaufe by a 
 
 2 _ portrait. 
 
SAL [ 589 J SAM 
 
 portrait of Aretine the famous fatyrift, which was fent as a prefent to Francis I. King 
 of France. 
 
 The invention of this mafter was rich and copious; but he feemed to want elevation 
 of genius, and to have rather too great a iuxuriancy of fancy, though that fancy was not 
 of the grand and majeftic turn. His carnations were delicate, particularly in his naked 
 figures, and he defigned fuch figures with grace and correctnefs. In others which were 
 cloathed, his draperies were full, broad, and genteel, elegantly marking the turn of every 
 limb, fo as to render it perceptible, though thinly covered. His ufual ftyle of colouring 
 was lively, and he gave his figures eafy and becoming attitudes, yet he had not a talent 
 for grand compofitions, being often but mean in his defign. 
 
 The merit of Salviati procured him many friends, but he frequently loft them by his 
 peevifti and capricious temper ; and Sandrart obferves, that many who were defirous of 
 having fome of his works, were reftrained from employing him, becaufehe always appeared 
 difiatisfied, even when he was largely overpaid for his performances. 
 
 He might have had fufficient fuccefs in France ; but his difagreeable conduct in many 
 refpects, and his fevere cenfures of other artifts, gave fuch a general offence, that he 
 quitted that kingdom in as much contempt, as he had entered it with honour and public 
 refpect. So unlooked-for a difappointment caufed him to return to Rome, where he fell 
 into new contentions with Daniel da Volterra, with Pietro Ligorio, the Pope's architect, and 
 with moft of the artifts of that time, and died there of a broken heart. 
 
 A number of poetical fubjects were painted by Salviati, in oil, for Ludovico Farnefe, 
 and he alfo finifhed feveral altar-pieces for the churches of Rome and Florence. A moft 
 capital picture of his painting is ftill preferved in the church of the Celeftins at Paris, 
 being the ornament of their grand altar. The naked figures in that compofition have an 
 eafe and grace which might appear worthy of any artift ; the draperies of thofe figures 
 that are clothed flow with an eafy negligence, neither too cumberfome nor too glaring •> 
 and in moft of his pictures a great deal of the manner of Baccio Bandinelli is obfervable, 
 but in this there appears much more of the ftyle of Andrea del Sarto. It is remarked 
 that fome of his pictures painted only in two colours are accounted his beft. 
 
 Joachim SANDRART. 
 
 Painted HiJIory and Portrait. 
 
 DIED 1683, AGED 77. 
 
 He was born at Frankfort on the Maine, in 1606, and had for his firft mafters Theodore 
 de Bry and Matthew Merian, who were engravers; but afterwards he became the difciple 
 of Gerard Honthorft. His improvement under that mafter diftinguifhed him above all 
 the difciples in that fchool, and engaged the efteem of his inftructor fo effectually, that 
 he took him to London as an affiftant in thofe works which were to be executed by 
 order of the King of England ; and he gained fo much credit by his performances, that 
 
 when 
 
g A N 
 
 ■a: 590 3 
 
 SAN 
 
 when Honthorft returned to his own country, Sandrart was retained in the fervice of 
 the King. 
 
 By having accefs to the royal collection of paintings, Sandrart laid the foundation of his 
 fubfequent merit ; for he ftudied and copied fome of the fineft productions of Titian, 
 Correggio, Guido, Veronefe, and Vandyck; and two capital works are particularly 
 mentioned by the writer of Sandrart's life (at the end of his lives of the painters), by 
 which he was principally improved ; the one was Mercury teaching Cupid to read, at the 
 requeft of Venus, by Correggio ; the other, Titian's twelve Caefars as- large as life, 
 which, after the death of the Duke of Buckingham, were purchafed by the Emperor 
 Ferdinand HI. at an immenfe price. Undoubtedly he eftablilhed his reputation during 
 his continuance in England, by feveral excellent paintings, and efpecially by the pictures 
 of Henry VIII. Sir Thomas More, and Erafmus, which he painted for the Earl of 
 Arundel, after the originals of Holbein; and it is mentioned to the honour of Sandrart, 
 that his imitation was fo exact, as to make it no eafy matter to determine which were 
 the copies. 
 
 When he left England, he vifited Venice, Bologna, Naples, and Rome, at each of 
 which cities ]ie ftudied and defigned every thing that feemed curious or worthy of his 
 obfervation, and added confiderably to his knowledge by his intimacy with Bamboccio, 
 Jan Lis, Albano, and Guido, who not only fhewed him their works, but freely commu- 
 nicated to him every obfervation relative to the art which might be any way advantageous 
 to him in his profeflion. 
 
 A picture of St. Jerom, and a Magdalen which he painted at Rome, procured him the 
 favour of Cardinal Barberini, and obtained for him the honour of painting the portrait of 
 Pope Urban VIII. ; and the King of Spain having fent an order to Rome for twelve 
 pictures of the fame dimenfion, to be executed by twelve of the moft eminent mafters 
 in Italy, Sandrart was appointed one of the number; and the other eleven were Guido, 
 Sacchi, Guercino, Giufeppe D'Arpini, Cortona, Lanfranc, Domenichino, Nicolo Pouffin, 
 Maflimi, Valentino, and Gentilefchi. Their performances were publicly exhibited at a 
 grand proceffion on a feftival ; and perhaps it may not prove unentertaining to the reader 
 to know the fubjects of thofe memorable paintings, efpecially as they are defcribed by very 
 few writers, and in books that are rarely to be met with. 
 
 The fubject of Guido's picture was the Rape of Helen, in which he reprefented that 
 fair fugitive conducted to the fea-fhore by Paris, attended by a few female figures; and 
 in every part of the compofition fuch genius, invention, and difpofition, were difplayed, 
 as made it doubtful whether art, nature, or grace, had the fuperiority. 
 
 Guercino's defign was Dido ftabbing herfelf on the funeral pile; in which the expreffion 
 of the principal figure, and the variety of paffions in the attendants, as grief, pity, terror, 
 and aftonifhent, were ftrong, lively, and natural. 
 
 The genius and fine invention of Pietro da Cortona were nobly manifefted in his 
 compofition, which reprefented Romulus giving the fignal for the Rape of the Sabines ; 
 
 in 
 
SAN [ 591 J SAN 
 
 in which he (hewed fuch a variety of actions, attitudes, and paflions, fuch eager refolutenefs 
 in the Romans, fuch a mixture of timidity and refentment in the women, as made that 
 performance to be confidered as one of the moft capital defigns of that mafter. 
 
 Andrea Sacchi's picture was emblematical, and reprefented Divine Wifdom as feated 
 on a throne furrounded by feveral Virtues ; but the excellence of the compofition, the 
 profound (kill and tafte in the defign, and its fingular corre&nefs, were much more 
 applauded than the colouring. 
 
 The fubjecl of Lanfranc's defign was the Difcovery of Califto, and the Death of 
 Actaeon; which feemed to be principally admired for its ftrong character of truth and 
 nature. 
 
 That of Domenichino, reprefented Diana appointing prizes for thofe nymphs who 
 excelled in rural fports and exCrcifes ; in which compofition was feen a variety of actions 
 and attitudes of nymphs exerting themfelves in the chace, and of others returning 
 triumphantly with the game, or refrefhing their limbs in the bath after their toil; while 
 their hounds are either drinking at the brook, or lie in different poftures expreflive of. 
 fatigue. This performance was univerfally admired, and allowed to have as high a degree- 
 - of merit as any of the paintings exhibited on the occafion. 
 
 Nicolo Pouffin reprefented in his defign the Plague of the Philiftines at Afhdod, and 
 introduced a number "of figures differently afFeded ; fome fickening, others pining and 
 languifhing under the diftemper, or attended by phyficians ; fome dying, and many dead; 
 but with fuch abundant variety and admirable expreffion, as gained him the greateft 
 honour. 
 
 Valentino chofe for his fubjecl: the Five Senfes, which he defcribed by figures in a 
 banqueting-room ; fome eating and drinking; others engaged at cards, or amufing them- 
 felves with the fmell of flowers; fome liftening to others who performed on mufical 
 inftruments ; and fome fighting and wounding each other. But this work was not com- 
 mended either for the goodnefs of the invention or the corre&nefs of drawing, and was 
 only efteemed for the elegant ftyle of the colouring. 
 
 The defign of Sandrart's picture was Seneca in the Bath (his veins opened by order 
 of Nero), with a philofophical firmnefs of mind difcourfing with his wife Paulina, and 
 his friends Demetrius and Philo; in v/hich the expreffion was natural, the figures were 
 correctly defigned, and the colouring was extremely good. But the pictures of Gen- 
 tilefchi, D'Arpino, and Maflimi, not being quite finifhed, were not publicly exhibited. 
 
 Sandrart travelled through moft parts of Europe, and found favour and employment 
 wherever he went, lb that he was greatly enriched when he returned to his own country; 
 and the fketches he drew of buildings, antiquities, ftatues, or beautiful views after nature, 
 together with his pictures and curiofities, produced, at different fales, twenty-two thoufand 
 feven hundred and twenty-one florins. A great number of his works are in Italy, , 
 Germany, and in the Low Countries, where they were much efteemed ; but his moft capital 
 performance is the reprefentation of the Laft Judgment, in which there are a multitude 
 
SAN 
 
 C 59 2 J 
 
 SAN 
 
 of figures, well defigned, and well coloured. He publifhed>feveral volumes, and one in 
 particular, which contains (what he calls) the Lives of the moft famous Painters. It is 
 a tranflation, by way of abridgment, from Vafari, Van Mander, and Ridoifi. ; but the 
 greateft part of thofe artifts of whom he treats, are mentioned in too flight and fuperficial a 
 mariner, affording the reader much lefs inftruction and fatisfaction, than might reafonably 
 be expected from the reputation and extenfive knowledge of the author. 
 
 S A N E S E. Vid. Memmi. 
 
 Jo«n Baptist SANTERRE. 
 Painted Portrait. 
 
 DIED 17 17, AGED 66. 
 
 This painter was born in France, near Ponthoife, in 1651, and was a difciple of Bon 
 JBoullongne, under whom he made a confiderable proficiency ; buthis greateft improvement 
 was derived from his obferving nature j and by his Angular attachment to that point, he 
 was enabled to produce fome eftimable works, although he poflefled but a moderate 
 portion of genius, and his pencil was but flow in its execution. He perceived that his 
 imagination and invention were inefficient for undertaking hiftorical compofitions, which 
 required a variety of figures j and therefore he employed himfelf in painting heads, and 
 half-length pictures, from imagination, or after the life, and thofe he finiflied with care 
 and great delicacy. 
 
 He defigned with tolerable corredtnefs, and had confiderable merit in the attitudes 
 and expreflion of fome of his portraits ; but his draperies were generally neither well 
 chofen, nor judicioufly difpofed. However, he took great pains to acquire the know- 
 ledge of anatomy and perfpective, being ftudious to acquaint himfelf with every branch 
 conducive to his improvement in his profeflion. He was particularly induftrious to 
 difcover the means of rendering his colours bright and durable ; and for that purpofe 
 fpent many hours in obferving the paintings on the figns, as he walked along the ftreets, 
 to remark what, colours endured the air, fun, and moifture, with the leaft appearance of 
 perifhing, andat.laft his labour was very fuccefsfully rewarded; for his pictures, efpecially 
 in the carnations.) fhewed an uncommon tranfparence and brilliancy j and if is mentioned 
 as a Angularity in Santerre, that he never put any kind of varnifli on his pictures in lefs 
 ,$ime than ten years after they were finiflied. 
 
 SANTI di TITI. 
 
 Painted Hi/lory and Portrait, 
 
 DIED 16Q3, AGED 65. 
 
 He was born at Florence, in 1538, and at firft was instructed in defign by Baftiano, a 
 painter of no great reputation but afterwards, being placed as a difciple with Agnolo 
 
 Bronzino, 
 
S A R 
 
 f 593 1 
 
 ^Bronzino, he foon gave manifeft proofs of the noble talents which he polTefled, and in a. 
 fhort time fhewed himfelf far fuperior to all his companions. 
 
 But, although he made a remarkable progrefs under Bronzino, yet he was confcious 
 that his knowledge of the true and grand principles of defign was ftill but imperfect ; 
 and therefore he determined to improve himfelf to the utmoft, in that refpect, by vifiting 
 Rome, in order to enrich his mind with more elevated ideas, by ftudying the antiques^ 
 which are the beft guides to all thofe painters who defire to imitate nature with grace, 
 fimplicity, and elegance. 
 
 While he continued at Rome, he was indefatigable in his ftudies; he acquired an 
 admirable tafte of compofition, and correctnefs of defign ; and gained fo far the public 
 approbation, that he was efteemed one of the beft painters of his time. His extraordinary 
 merit immediately diftinguifhed him, and his performances for fome of the Nobility and 
 Cardinals, raifed his reputation fo high, that it occafioned his being folicited to return to 
 Florence, where he painted a multitude of incomparable defigns. His genius was not 
 limited to hi ftory alone, but he was equally excellent in portraits ; of which he finifhed 
 many that were exceedingly applauded, for their ftrong and lively refemblance, as well as 
 for the beauty of the colouring. 
 
 This mafter has always been accounted an honour to the Florentine fchool ; and was 
 univerfally admired, for his correctnefs and tafte ; for the lightnefs and freedom of his 
 hand; for a furprifing force of colour; and for the peculiar grandeur of his manner and 
 ftyle. Among a great number of fine pictures painted by Santi di Titi, at Florence, there 
 is one very capital defign in the Palazzo Corfini, in that city, representing the Baptifm 
 of St. John, entirely in the manner, and with all the grace and delicacy of Albano. The 
 defign is in an exquiiite tafte, and exceedingly correct ; the heads are finej thofe of the 
 female figures are elegantly drefTed; and the whole is finifhed with moft extraordinary 
 neatnefs and care. 
 
 SAREZANA. Vid. Fiasella. 
 
 Andrea del SARTO, or Andrea Vanucchi. 
 tainted Hi/lory and Portrait. 
 died 1530, Aged 42. 
 
 This mafter was born at Florence, in 1488, and received his firft inftruction in the 
 art from Giovanni Barile, a very mean painter, with whom he fpent three years with 
 intenfe application ; and in that time difcovered fuch uncommon talents as aftonifhed 
 ^Barile; and he placed Andrea as a difciple with Pietro Cofimo, who was accounted one of 
 the beft painters in Italy. 
 
 His induftrious perfeveTance in his ftudies under that mafter, rendered him in a fhort 
 time very eminent ; but the morofe temper of Cofimo compelled Andrea to quit him^ and 
 
 4 F to 
 
S A R 
 
 C 594 ] 
 
 S A R 
 
 to endeavour to perfect himfelfby attending to the works of other famous artifts ; though 
 he had appropriated every faint's day and feftival (while he was in the fchool of Cofimo) 
 to defign after the works of Vinci, Raphael, and Buonaroti, to which he had accefs in 
 Florence. He therefore perfifted in the fame method of practice, and by that means 
 formed an admirable tafte, and fignalized himfelf above all the young painters of his own 
 country, or foreigners, by correctnefs, colouring, and a profound knowledge of the art. 
 
 At that time, Andrea contracted an intimate friendfhip with Francefco Bigio : as there 
 feemed to be a remarkable agreement in their tempers, as well as in their ftudies, they 
 determined to live together, and they painted a great number of works in the churches 
 and convents of Florence, in concurrence i but the reputation of Andrea was perpetually 
 promoted by every work he finilhed, either in frefco or in oil. At laft his fame was 
 railed to its higheft pitch, by that noble defign which he executed for the bare-footed 
 Carmelites at Florence, reprefenting the preaching of St. John. The attitude, and air of 
 the head of the principal figure, were exceedingly fine; the countenance was full of fpirit 
 and wifdom, and ftrongly expreffive of his character ; and the fun-burned tint of his 
 flefh was properly fuited to his manner of life in the defert. The cxpreflion of the 
 auditors was natural, and fhewed abundant variety ; fome attentively liftening, fome in 
 admiration and aftoniftiment at the novelty of his doctrine, and the energy of his difcoujpfe ; 
 others, with a look of apparent approbation and conviction ; and the whole performance 
 was admirable, for the colouring, correctnefs of outline, difpofition and fimplicity, united 
 with elegance. 
 
 Although he had as much employment at Florence as he could poflibly finifh, yet could 
 he not refift the impulfe he felt to fee the works of Raphael at Rome ; he went therefore 
 to that city, and examined every thing with a judicious attention. He ftudied the manner 
 of that inimitable artift carefully, and alfo obferved with a critical eye the grandeur of 
 ftyle in the compofitions of Buonaroti j nor did he neglect to attend to the antiques, and 
 all the curious remains of art and magnificence, which offered themfelves to his obferva- 
 tion, by which he received confiderable improvement ; and it was obferved, that his 
 manner was altered much for the better after he had vifited Rome. However, it became 
 evident that he did not continue there a fufficient length of time, to ftudy and confider 
 things with fuch exactnefs as he ought; and it is not doubted, that if he had refided for 
 fome years at Rome, and devoted more of his ftudy and practice to the antiques and 
 Raphael, he would have furpaffed all the artifts of his time, as he had naturally a graceful 
 manner of defign, and his colouring was lively. 
 
 He painted with great freedom and readinefs; his colouring in frefco, as well as in 
 oil, was full of fweetnefs and force; and his carnations are beautiful. His draperies are 
 marvelloufly eafy, graceful, and natural, and they are touched with uncommon fpirit ; the 
 airs of his heads have an elegant variety; and his boys, as alfo the extremities of his 
 figures, are fcarcely inferior to thofe of Raphael. The naked figures in Ins compofitions 
 are excellently defigned; but, from a certain timidity of mind, his figures, both of 
 
 men 
 
S A R 
 
 t 595 ] 
 
 S A R 
 
 men and women, feem to want that fire and vivacity which animate the works of other 
 great painters, though they recommend themfeives by their correctnefs, truth, and noble 
 iimplicity. 
 
 The excellence of Andrea's pencil, and his power of imitation, cannot be more 
 ftrongly illuftrated, than by that memorable incident mentioned circumftantially by 
 Vafari: that, by order of Octavian de Medici, he copied a portrait of Leo X. between 
 Cardinal Medici and Cardinal Rom, the heads and hands of the figures having been 
 painted by Raphael, and the draperies by Julio Romano ; and he imitated every part of it 
 with fuch amazing exactnefs, that Julio, after the moft minute infpection, and alfo being 
 allured that it was a copy, could not diftinguifh it from the original. 
 
 The fuperior talents of Andrea del Sarto might have raifed him to be as rich in his 
 fortune as in his reputation, if his own indifcreet conduct had not reduced him to very 
 diftrefsful circumftances ; for the French King, Francis I. was fo exceflively fond of his 
 works, that he invited him to his Court, defrayed all the expences of his journey, 
 received him with great diftinction, and made him many valuable prefents. The firft 
 work in which he was employed for that Monarch, was a portrait- of the Dauphin, who 
 was then but a few months old; and he was rewarded (as Vafari teftifies) with three 
 hundred crowns in gold, for that performance. Afterwards, he painted an incomparable 
 picture of a Charity, and a multitude of other defigns for the principal Nobility about 
 the Court, fo that he lived in an ample enjoyment of every thing conducive to happinefs, 
 either in refpect of efteem, affluence, or honour. 
 
 But, amidft this flow of good fortune, while he was employed by the Queen-Mother 
 to paint a picture of St. Jerom, when it was hardly half finifhed, he received letters 
 from his wife, foliciting his return to Florence; and, to indulge her defire, he requefted 
 permifflon for a few months abfence, promifing to return with his family and fettle in 
 France. The King confided in his integrity, and not only made him feveral prefents 
 with a Royal liberality, but intruded him with large fums of money to purchafe ftatues, 
 paintings, defigns, etchings, or any thing that was curious, or worthy of his poflefflng. 
 However, Andrea foon forgot his engagements, and violated every tie of honour, after 
 he arrived at Florence. He Squandered away the whole flock, the King's property as 
 well as his own, and never returned to his friend and benefactor. At laft he funk into 
 that poverty, to which, by his prodigality and ingratitude, he feemed very juflly entitled ; 
 he fuffered a variety of difficulties and diftrefles, and died of the plague, abandoned by. 
 his wife, and by all thofe friends who had been the partners of his extravagance. 
 
 Abundance of the works of Andrea are in the churches, convents, and palaces at 
 Florence, and in thofe the merit of Del Sarto is fhewn in a proper light; for they are 
 far preferable to what is feen of his hand, either in Rome, or in any other city of Italy. 
 Among a number of his capital paintings, there is one admirable picture in the Palazzo 
 Pitti, at Florence. The fubject is the Virgin and Child, with St. John and St. Francis j 
 
 4 F 2 the. 
 
& A S 
 
 [ 596 ] 
 
 S A V 
 
 the colouring has an extraordinary force j the ftyle is exquifitely delicate ; the draperies 
 are caft in a grand tafte, and look unufually frefh ; and the heads are excefftvely fine, 
 though the head of the Virgin is rather beautiful, than formed with a becoming dignity; 
 (?f character* 
 
 SASSO-FERRATO. Vid. Salvi. 
 
 Roland SAVERY. 
 Pvintcd Landfcapes and Animals. 
 
 DIED 1639, AGED 63. 
 
 He was born atCourtray, in 1576, the fon of Jacques Savery, an indifferent painter 
 of animals, from whom he received his inflruction in the art j though he profited after- 
 wards a great deal more, by the directions of his elder brother, who was a much 
 better artift. 
 
 Some writers alledge, that he was a difciple of Paul Bril, and there is certainly fome- 
 what in his. manner that might feem fufficient tojuftify fuch a fuppolition; but others, 
 are of opinion, that he only ftudied the works of Bril, and endeavoured to imitate his 
 manner of handling and colouring. He painted landfcapes, which he frequently adorned 
 with hiftorical figures, and animals of different kinds j.. and alfo painted infects and. 
 reptiles, which were touched with a great deal of fpirit. 
 
 The Emperor Rpdolph having feen fome of the works of this mafter, admired them fo. 
 highly, that he engaged him in his fervice, fettled, on him a conliderable penfion, and 
 enabled him to travel to, Tirol, to improve his tafte, and furnifh his imagination with 
 more elegant objects, by furveying beautiful nature in all. its wildnefs, among the vales, 
 hills, mountains, and precipices, of that tract of country. 
 
 He fpent two years in clofe application to his ftudies, and defined after nature thofe 
 fituations which appeared to him moft agreeable, romantic, and fuitable to his fancy j he 
 made fketches of thofe rocks, rivers, cafcades, torrents, and ftupendous falls of, water, 
 which occurred to, his obfervation ; and filled a large volume with thofe defigns, which, 
 proved of the utmoft benefit to him in his future compofitions ; not only for thofe which 
 he painted for the Emperor, in his gallery at Prague, but alfo for the eafe] pidures which 
 he finifhed.at his return to Utrecht. 
 
 He had a delicate pencil, and touched his objects with a great deal of fpirit and 
 freedom ,\ the fcenes which he defcribes are grand and folemn j he fbews a pleafing oppo-- 
 fition in his lights and fhadows; his fubjeas are full of an agreeable variety, and his- 
 pidtures are generally executed in a mafterly manner j though fome of the pictures 
 o£ Savery are much fuperior to others. His drawing is not always correct;, nor is. 
 the tone of his colouring always pleafing; for fometimes the blue tint predominates 
 tpo,much, and the green frequently appears too vivid. But, upon the whole, he was an 
 
 excellent. 
 
SCH 
 
 f 597 3 
 
 5CH 
 
 excellent mafter, and his. works are very highly efteemed, particularly his fmall eafel 
 pi&ures, which are accounted but little inferior to Paul Bril and Brueghel, in the neat- 
 nefs of the finifhing. 
 
 Plis raoft capital performance, in the gallery of the Emperor at Prague, (according to 
 Sandrart) is a charming landfcape, in which St. Jerom is reprefented mortifying himfelf 
 in the defart ; and one of hisbeft pictures in the Low Countries, (according to Houbraken) 
 is a landfcape, in which Orpheus is introduced among a variety of animalsv 
 
 Gilles SCHAGEN. 
 
 Pui'/iied Jd'ijlory and Portrait. 
 
 DIED l668, AGED 52. 
 
 He was born at Alkmaer, ill 1616, and, from the exertion of his own genius, worked 
 out fome knowledge of the art of painting when he was very young ; but afterwards he 
 was a difciple of Solomon Van R:\veftein; and when he quitted that mafter, he received 
 further instructions from Peter Verbeek. To improve himfelf, by obferving the works 
 of other eminent artifts, he travelled through feveral parts of Germany; and at Elbing 
 became intimate with the Emperor's painter, one Strobel, by whofe kindnefs he was 
 made known to Staniflaus, King of Poland, who fat to him for his portrait. His fuccefs 
 in that performance was eq.ual to his moft fanguine expectations ; but the beauty and 
 merit of the work excited fo much furprife and jealoufy in his friend Strobel, that he 
 thought it imprudent to encourage him any longer to continue in that city. 
 
 Schagen therefore returned to Alkmaer, and from thence went to Paris ; where he 
 followed his profeflion induftrioufly, and painted a great number of portraits and other 
 fubjects, and lived , in credit, and affluence.. He was an excellent copyer, and acquired 
 a high reputation by copying a picture of Chrift and St. John, after Michael Angelo 
 Buonaroti, and a Virgin and Child, after Rubens ; in the latter of which he fhewed a free 
 and mafterly pencil, a great power of execution, and a tone of colour that was but little 
 inferior to the original. One of his moft remarkable compofitions, was the reprefentation 
 ef the fea-engagement between Van Tromp, and Oquendo the Spaniard, which be 
 fketched during the fight,,by order of the Dutch Admiral. 
 
 Godfrey SCHALCKEN, or S calk en.. 
 Painted Hi/lory^ Portrait^ and Converfations. 
 
 DIED I706, AGED 63? 
 
 He was born at Dort, in 1643, and learned the firft principles of painting from 
 Samuel Van Hoogftraeten; but he accomplifhed himfelf afterwards in the art, by 
 becoming the difciple of Gerard Douw, with whom he ftudied for fome years; nor did he 
 leave that fchool till he found himfelf qualified to imitate the ftyle, and manner of handling 
 of his mafter, with great fuccefs.- 
 
 5 "When 
 
SCH 
 
 r 598 ] 
 
 SCH 
 
 When he began to follow his profeffion he very foon gained a confiderable reputation, 
 and was much employed for portraits, of which there are many at Dort, of the principal 
 families in that city. One very celebrated picture of that kind is the portrait of a lady, 
 in the character of a nymph, fleeping under the fhadow of a tree. His colouring at firft 
 was not fo clear as could be wifhed, but afterwards he fhewed himfelf in that refpeet 
 greatly improved. He was remarkable for painting in a variety of manners, and in every 
 one of them his pencil was excellent. Particularly he delighted in night- fubjects ; becaufe 
 he knew how to diftribute the light of a flambeau or taper with fo much fkill as to diffufe 
 a brightnefs over his object, by a proper oppofition of fhadow, which only nature could 
 equal j and in that way of painting he feems to be without a competitor. 
 
 Houbraken mentions an hiftorical night-fcene of this mafter, which was exceedingly 
 admired j the fubjedt was, St. Peter denying Chriftj and in that defign, the maid is 
 reprefented as holding up a light to the face of the apoftle. That picture is defcribed as 
 having a good expreflion, and a greater afTemblage of figures than are ufually to be feen 
 in any of his compofitions. There appears in it great correctnefs of defign, and great 
 harmony in the whole, which are circumftances that do not always occur in the works of 
 Schalcken; for although in his penciling he might almoft be compared to Mierls, or 
 Vander Werf, yet in the correctnefs of drawing he was far inferior* 
 
 Some of his performances being much admired by feveral Englifh gentlemen who 
 travelled through the Low Countries, they encouraged him to vifit London ; and for fome 
 time he had all imaginable fuccefs, while he painted in fmall, as his greateft power of 
 execution was fhewn in that fize. But when he attempted to enter into competion with 
 Kneller, by painting portraits in a larger proportion, he injured his fortune and 
 reputation, as thofe portraits had neither fo much force, truth, grace, or fpirit, as the 
 portraits of Kneller. Happily for himfelf he perceived his error in a proper time, and 
 purfued his firft plan of painting in fmall, by which he foon recovered his credit, and was 
 enabled to live in affluence. 
 
 It was obferved of .him, that he was not fo fuccefsful in the portraits of women, as he 
 generally was in thofe of men, becaufe he wanted elegance in his choice. He copied 
 jiature exactly after his models, without flattery, and without ftudying to add even a 
 graceful air to his fubjects; not confidering that .his female models would have been 
 much better pleafed to fee charms and graces in their portraits, which were denied them 
 by nature, fo.as the refemblarrce was prefer ved, rather than to have their likenefs very 
 exact, without fome additional embellifhments. 
 
 While he refided in London, he had the honour to be appointed to paint the portrait of 
 King William III. which he chofe to reprefent by candle-light ; and having prefented to 
 the King a taper, that he might hold it in a proper pofition, the taper accidentally melted 
 in fuch a manner as to drop on the fingers of that Monarch. The King endured it wit 
 -great compofednefs, being unwilling to difconcert the artift; though Schalcken, with 
 extreme unpolitenefs, continued his work, without once endeavouring to relieve the 
 
 King 
 
 ♦ 
 
S C H 
 
 [ 599 ] 
 
 S C H 
 
 King from that difagreeable fituation. Such an unrefpectful conduct was quickly noticed 
 by the courtiers ; and it entirely loft him their favour and encouragement for the future. 
 When he found his bufinefs on the decline in England, he retired to the Hague, where 
 his reputation was fo well eftablifhed, that he found a prodigious demand for fmall 
 paintings, and he fold them for very high prices ; but thofe of a larger fize were in no 
 great efteem. 
 
 His pencil was foft, mellow, and delicate ; his pictures are finiftied with exceeding 
 neatnefs ; and they mew the chiaro-fcuro in great perfection. He imitated nature with 
 lingular exadtnefs, as well in the truth of his colouring, as in the mafles of his light and 
 ftiadow ; nor did he account any part of the art fo deferving of the ftudy and attention of 
 a painter, as the effect of light on different bodies, either opaque or pellucid, and the 
 Variety of reflexions and refractions from different furfaces. 
 
 Although the pictures of Schalcken feem to be touched with the utmoft delicacy, and 
 highly wrought, yet he had acquired a habit of painting with great readinefs, and a free 
 pencil; which is a particularity rarely obferved in thofe works where the finifhing is 
 laborioufly neat. Yet, notwithstanding he confeffedly had abundance of merit in many 
 refpects^ he did not fumciently attend to defign; nor had he an elegance of choice in any 
 of his models, but merely copied nature as it was placed before him. His figures 
 frequently are ftiff, the hands rather heavy, and the other limbs often too lean, without 
 grace or elegance in the contours. 
 
 William SCHEL LINKS. 
 
 Painted HiJ?ory y Landfcape, and Sea-Ports. 
 
 DIED 1678, AGED 47. 
 
 He was born at Amfterdam, in 1631, and learned the art of painting in that city; but 
 to improve himfelf, he travelled through feveral parts of Europe, and particularly vifited 
 England and Italy. In the former, he iketched the mips, fea-ports, and noble views of 
 that beautiful country, after nature; and in the latter, he obferved every thing that was 
 curious in the buildings, profpects, monuments of antiquity, ports, or other objects 
 which merited his notice, and defigned them on the fpot. 
 
 His manner of painting greatly refembled that of Karel du Jardyn ; and the perfpective 
 parts, reprefenting veffels lying at the wharfs, or at anchor before fea-ports, were in the 
 ftyle of Linglebach, but rather fuperior to that mafter. He had an excellent touch, with 
 great freedom of hand, and his defign was in general correct. He ufually painted in a 
 fmall lize, and always took care to finiffi his pictures very highly; fo that in ibme of them 
 the figures and horfes have a great refemblance of Wouwermans. 
 
 Houbraken mentions a very capital compofition of Schellinks, which was the embarka- 
 tion of Charles II. at his return to England after the reftoration. On the more were 
 2 reprefented 
 
SCH 
 
 [ 600 3 
 
 SCH 
 
 reprefented a multitude of figures, well grouped, with a furprifing variety of foidierSj, 
 horfe and foot, coaches, and other carriages, with a diftant view of the fleet waiting to 
 convoy that Monarch to his dominions ; the whole being exceedingly well defigned, and 
 judicioufiy executed. 
 
 Daniel SCHELLINKS. 
 Painted Land/cape. 
 DIED I7OI, AGED 68. 
 
 He was the younger brother of William, born at Amfterdam, in 1633, and was alfo 
 his di-fciple. He painted landfcapes, and fometimes views of places in the manner of his 
 brother, and had the reputation of being an extraordinary good artift. 
 
 Andrea SCHIAVONE. 
 Painted Hiftory* 
 
 DIED 1582, AGED 60. 
 
 He was born at Sebenico, a city in Dalmatia, fubjedl to the Venetians, in 1522, and 
 was fent by his parents to Venice when he was very young. At firft he had no other 
 employment than to attend fome indifferent painters who worked for the (hops; but even 
 that low occupation ferved to animate him with a defire to follow the profeflion of painting. 
 The feeds of genius foon began to expand, and, by a happy cultivation, they were brought 
 to fufficient maturity. 
 
 His knowledge of the firft principles of defign, was derived from his ftudying the 
 etchings and compofitions of Parmigiano, but his tafte of colouring was acquired from 
 the works of Giorgione, and Titian; and from thofe great mailers he formed a peculiar 
 manner and ftyle, which raifed him to the higheft reputation, and rendered him fuperior 
 to moft of his cotemporaries, in the delicacy of penciling, and the richnefs of colour. 
 
 At his firft fetting out as an artift he ftruggled with many difficulties; he found himfelf 
 under a neceifity of undertaking any kind of work that offered, and at his difengaged 
 hours painted for the dealers in pictures; till it happened that fome of his pictures 'fell 
 under the obfervation of Titian, who feeing the merit of Schiavone, and being informed 
 of the wretchednefs of his fituation, took him under his own care, and employed him, 
 along with Tintoretto and others, as an affiftant in thofe grand works which he had unuer- 
 taken for the library of St. Mark's church. There Titian afforded Schiavone an oppor- 
 tunity of difplaying his talents ; and three entire cielings of his painting, are ftill to be 
 feen in that celebrated repofitory. 
 
 Schiavone was undoubtedly one of the fineft colourifts of the Venetian fchool ; his 
 manner was lively, and exceedingly pleafing ; he mewed an elegant choice in the attitudes 
 of his figures, and contrafted the:n with judgment; and the graceful tafte of his draperies 
 
 was 
 
S C H 
 
 i 601 ] 
 
 SCH 
 
 was admired by all the artifts of his time. The heads of his old men are touched with 
 abundance of fpirit, and the heads of his women are charmingly executed. The only 
 imperfection in this mafter was the incorrectnefs of his defign ; and it was much regretted 
 that he appeared defective in that point, as in every other refpect he was an accomplished 
 artift. He painted with eafe, and with a clean pencil ; and, by a fkilful management of 
 his tints, gave his carnations fuch truth, fremnefs, and warmth, that they had all the look of 
 real life. Notwithstanding the defects that may juftly be imputed to him in fome parts 
 of the art, yet the beauty of his colouring, the fine diftribution of his lights and fhadows, 
 and the delicate and natural relief of the figures, will always make the works of Schiavone 
 juftly eftimable. ' , 
 
 The hiftory of Perfeus and Andromeda, by this mafter, is in the Royal palace at Windfor i 
 and in the fame collection is another, r^prefenting the Apoftles at the Sepulchre. 
 
 Bartelemi SCHIDONE. 
 Painted Hi/lory and Portrait. 
 
 DIED l6l6, AGED $6. 
 
 He was born at Modena, in 1560, and learned defign and colouring in the fchool of thfc 
 Caracci ; but when he quitted that academy, he devoted himfelf entirely to ftudy the 
 manner of Correggio, and imbibed fo ftrongly the graces and delicacies of that wonderful 
 artift, that none ever imitated his ftyle and lovely ideas more happily than Schidone. Even 
 his firft performances in his native city were looked upon with admiration ; and his future 
 works were proportionably ftill more excellent. 
 
 He was foon taken into the fervice of Ranuccio, Duke of Parma, and had the diftinction 
 of being appointed his principal painter. He finifhed for that Prince feveral compofitions 
 of facred fubjedts, and fome taken from the Roman writers, extremely in the tafte of 
 Correggio; but his principal employment was, to paint the portraits of his patron and all 
 his family; in which he fnewed fuch an amiable variety of airs and attitudes, as well as 
 fuch delicacy of colouring, as caufed him to be numbered among; the beft mafters of Italy. 
 He alfo painted the portraits of all the Princes of the houfe of Modena, with an equal 
 degree of merit; and moft of the works of this mafter are in Modena and Placentia. 
 
 The genius of Schidone was noble and elevated; his ftyle of painting is exceedingly 
 elegant; his touch light, delicate, and admirable; and although he is not always critically 
 correct in his outline, yet the airs of his heads are remarkably graceful, and all his 
 pictures are finifhed in an exquifite manner. His paintings, as well as 'his defigns, are 
 exceedingly fcarce and valuable ; and when they are to be met with, are as frequently 
 taken for the work of Correggio or Parmigiano. 
 
 Unhappily for himfelf, and for every lover of the art, he grew pafiionately fond of gaming, 
 and indulged that appetite fo far, as to confume abundance of his time unprofltably in that 
 amufement, to which error the great fcarcity of his works is generally.imputed. And it is 
 
 4 & aflertedj 
 
SCH [ 602 ] S C H 
 
 alTerted, that having in one night loft a very large fum of money, much more than his 
 fortune could bear, it affected him fo violently as to occafion his death. 
 
 In the church of St. Francis, at Placentia, is preferved a capital performance of Schidone, 
 reprefenting the Virgin attended by feveral Saints and Angels ; and in the collection of the 
 Duke of Orleans, there is an Holy Family, in which the Virgin feems engaged in teaching 
 Chrift to read. 
 
 Anthony SCHOONJANS. 
 
 Painted Hijiory and Portrait. 
 
 DIED I726, AGED fj. 
 
 He was born at Antwerp, in *i655, and had the good fortune to be placed, while he was 
 very young, as a difciple with Ef afmus Quellinus, who had been bred in the fchool of Rubens. 
 The progrefs he made under that mafter was extraordinary; for, by attending carefully to 
 the works of Quellinus, and alfo to the compofitions and handling of other eminent 
 painters, he became very excellent in colouring. But, having a ftrong ambition to improve 
 himfelf as much as poflible in his profeflion, he determined to travel, and directed his journey, 
 through Paris and Lyons, to Italy. 
 
 On his arrival at Rome, he devoted his whole time to ftudy the antiques, to defign 
 after the fineft of them, and likewife to copy the works of the moft celebrated matters 
 among the moderns, till his mind was fo filled with thofe admirable obj eels, and they were 
 impreffed fo retentively on his memory, that he could defign any of them exactly, even 
 when they were not before his eyes. He continued at Rome for ten years, improving his 
 tafte by inceftant ftudy, and perfecting his hand by afliduous practice. Then he vifited 
 Vienna, where his uncommon abilities foon procured him the favour and efteem of 
 Leopold I. who took him into his fervice, appointed him his cabinet painter, and honoured 
 him with a prefent of a gold chain, and a rich medal of the fame metal. 
 
 Befide the great number of portraits which he painted for the Imperial family, for the 
 chief officers of the Court, and the principal Nobility, he was abundantly employed by 
 others ; his portraits being much admired, not only on account of their ftriking likenefs, but 
 for the exprellion, for the character of the mind vifible in the countenance, and for 
 a certain agreeable livelinefs, which he diffufed through the faces of all his fubjects. He 
 had a thorough knowledge of the principles of the chiaro-fcuro, by which he diftributed 
 his lights and ftiadows fo judicioully, as to give his figures a roundnefs and relief like 
 nature itfelf. 
 
 In the hiftorical ftyle, he painted feveral grand altar-pieces, for the churches and con- 
 vents through the Auftrian dominions; but his principal works are at Vienna. The 
 fame of his performances recommended him to moft of the polite Courts in Europe, and 
 
 particularly 
 
 * Mr. Defcamps fixes the birth of Schoonjans in 1650, but in the Mufeum Florentinum the year of his birth is 1655. 
 
SCH 
 
 C 603 ] 
 
 SCH 
 
 particularly to many Englifh Noblemen, who vifited the Emperor's Court j and, as they 
 had conveyed fome of the paintings of Schoonjans to England, where they feemed to be 
 exceedingly admired, he was invited to that kingdom, and obtained the Emperor's per- 
 mifiion to fpend fome time at London. There he met with an encouragement worthy of 
 his great talents ; the Englifh being univerfally diftinguifhed for their benevolence, and 
 liberality to merit in every profeffion. 
 
 In his return to Vienna from England, he was prevailed on to execute a few defigns 
 for the Elector Palatine, with which that Prince appeared to be fo highly pleafed, that he 
 prefented Schoonjans with a chain and medal of gold j and wifhed to have engaged him in 
 larger works, if the time allowed him by the Emperor's licence could have permitted him 
 to undertake them; but being conftrained to quit Dufieldorp, he returned to Vienna, 
 where he was carefled, employed, and honoured, as long as he lived. 
 
 John Henry SCHOONEFELD, or Schoenefeld. 
 Painted Hijlory, Landfcapes, Animals, and Architetture. 
 
 DIED 1689, AGED 70. 
 
 He was born at Bibrach, an Imperial city, in *i6ig, of a noble family, and learned the 
 art of painting from John Sechelbein j but he afterwards , went through feveral cities of 
 Germany to improve himfelf, and, in the compafs of a few years, gave evident tokens of 
 fuch an elevation of genius, as would render him a confiderable artift ; for he acquired 
 with eafe, and in a fhort time, thofe accomplifhments in the art, which are in others the 
 refult of uninterrupted application for a number of years. 
 
 When he had taken a progrefs through a great part of Germany, he travelled to Rome ; 
 and by ftudying the celebrated mafter-pieces of painting and architecture, as well as of 
 fculpture, he refined his taftej he obtained a more perfect idea of defign and compofition; 
 and diftinguifhed himfelf by a readinefs of invention, as alfo by a freedom of execution, 
 which was correct and uncommon. 
 
 He fhewed abundance of grace in all his compofitions, and pofieffed fo fertile an invention, 
 that his own ready pencil, though exceedingly expeditious, was fcarcely active enough to 
 exprefs what the livelinefs of his imagination dictated. He excelled equally in hiftorical 
 fubjects, taken from facred, profane, and poetical writers, and in landfcapes, fea-ports, 
 architecture, ruins of grand edifices, and animals of every fpe'eies. His figures were 
 defigned^with elegance, and all his fubjects were difpofed with judgment and art. 
 
 At Augfbourg, in the church of the Holy Crofs, are two very capital paintings of this 
 mafter ; the one, Chrift conducted to his execution ; the other, a Defcent from the Crofs, 
 in which the figures and difpofition are excellent. And in the Senate-houfe is preferved 
 a fine compofition, reprefenting the Race of Hippomenes and Atalanta, which deferves the 
 
 4 G 2 higheft 
 
 * The author of the Chronological Tables by miftake fixes the year of his birth in 1609, and cites the authority of 
 SanJrart ; whereas Sandrart, in his Lives of the Painters, page 324, dates the birth of this mafter precifely in 1619. 
 
C H [ 604 ] S C H 
 
 hi gheft commendation, not only for the expreffion and action of the principal figures, but* 
 Jikewife for the variety of attitudes and paflions in a great number of others, fuppofed to, 
 be fpectators of the conteft. 
 
 John SCHOREL, or SCHOREEL, 
 
 Painterf Hi/lory, Landfcape^ and Portrait* ; 
 
 . DIED I562, AGED 67. 
 
 He was born at a village called Schorel, near Alkmaer, in Holland, and was at firffc 
 placed as a difciple With William Cornells, an indifferent painter, with whom he continued 
 for three years; and afterwards he ftudied under Jacques Cornelis, a much abler artift, 
 and more expert in defign. But although the latter matter took abundance of care to 
 improve Schorel, yet the fame of John de Mabufe, who at that time lived in high efteem 
 at Utrecht, induced Schorel to fix himfelf under his direction ; though he was. obliged to 
 quit him in a m or t time, an account of his diflblute manner of. living, by which Schorel. 
 was often exceedingly diftreffed, nnd his life frequently endangered. He therefore retired, 
 from Holland, and went through feveral parts of Germany, where he procured a com- 
 fortable fubfiftence by his work, as he was remarkably expeditious., and. finiflied more in 
 one week than others could execute in a month. He Cpent.fome time at Spire, to ftudy 
 perfpeclive and architecture ; and in every city through which he paffed, he vilited the 
 moft eminent artifts, to obferv.e their different manners; and his own eafy and pleafing 
 ftyle of painting procured him admirers wherever he went. 
 
 Having arrived at Venice in his progrefs, he was prevailed on to undertake a voyage 
 to Paleftine ; and in his paffage defigned the moft pleafing views of Cyprus, Rhodes,, and 
 other iflands of the Mediterranean, with all thofe ancient buildjngs, or memorable caftles, 
 ruins, rocks, or beautiful fcenery, which had an appearance of elegance or grandeur in 
 their conftruction or fituation. On his arrival in Paleftine his principal employment was, 
 to (ketch after nature the profpedts of the country near Jerufalem; the adjacent villages; 
 the particular views of that celebrated city; the fepulchre; the fcenes about Jordan; and 
 whatever appeared to him worthy of his attention. And of thofe fketches he made a very 
 judicious ufe when he returned to his native country, by compofing fuch fubjects from 
 facred hiftory as would fuit with thofe fcenes or edifices, which he had defigned with great 
 truth and exactnefs after nature. Qf this he gave an excellent proof, in a picture which 
 reprefented the paffage of the Ifraelites over Jordan; and alfo in another, defcribjng. the 
 memorable event of Chrift entering into Jerufalem. 
 
 When he returned to Europe, his utmoft ambition was to fee Rome, and there he 
 carefully ftudied the antiques-, the works, of Raphael, and the grand compofitions. of 
 Michael Angelo Buonaroti, as well as other great mafters, and defigned the moft 
 magnificent ruins in that city and its environs. He was the firft of the Flemifh painters 
 who introduced the Italian tafte and ftyle into his own country; and prepared them for 
 
 receiving 
 
S C H 
 
 [ 605 ] 
 
 S C H 
 
 receiving farther improvement from Francis Floris and others, who after his time ftudied 
 -.it Rome. 
 
 His manner was rather dry, but the airs of his headsjiad a good deal of grace; his 
 landfcape was always well adapted to the hiftory which constituted the principal fubjecl j and 
 his colouring, though not excellent, was not unpleafing. A picture of St. John bapfifing 
 Chrift, painted by this mafter, is mentioned as a very fine performance; the airs of the 
 heads are graceful, and the landfcape feems to enrich the compolition, 
 
 Cornelius SCHUT. * 
 
 Painted Hiftory. 
 DIED 1660, AGED 60. 
 
 This mafter was born at Antwerp, in the year 1600 (according to the moft authentic 
 accounts), though Defcamps feems to fix the time of his birth in 1590. He was a difciple 
 of Rubens, and having a fruitful genius and lively imagination, he fhewed himfelf worthy 
 of the fchool from whence he derived his inftru&ion, and rendered himfelf very confiderable 
 as a painter of hiftory. 
 
 It is no fmall atteftation of his merit, that Vandyck painted his portrait as one of the 
 eminent artifts of his time; but the fuperior merit of Rubens prevented him from 
 being as much diftinguifhed or employed as he very juftly deferved. So great a difap- 
 pointment and obftruction to his making a figure in his profeflion, infpired him with an 
 implacable enmity to Rubens; but that great man, inftead of exprefling any refentment 
 was only more active to procure him employment, by a generous and zealous recommen- 
 dation of him and his performances. 
 
 He had a poetic imagination, and generally chofe to *paint fubjefts of the fabulous 
 kind, from Ovid and other ancient writers; but although his compofition was ingenious 
 and fhewed a fpirited fancy, yet what rendered the works of S chut lefs eftimable. was a . 
 greyiih tint in his colouring, an incorre&nefs of defign and outline, and a want of having 
 fufficiently ftudied and confulted nature. However, he had a free and. firm pencil, and his 
 ftyle of colouring plainly fhewed the fchool of Rubens. 
 
 He was fometimes engaged by other artifts to infert figures in their pictures, and 
 particularly by Daniel Segers, for whom he very frequently painted the bas-reliefs, and 
 figures coloured in imitation^ of marble, which are feen in the middle of the flower- 
 pieces of that mafter. 
 
 He compofed fubjects of-facred as well as poetic hiftory, and'many of his performances 
 adorn the churches and chapels of the Low Countries. The cupola of the church of 
 Notre Dame, at Antwerp, is of his hand; and in a chapel of that church is an altar-piece, 
 of which the fubjeel is the Martyrdom of St. George ; but one of his moft capital 
 paintings is. in the church of the Jefuits, at Ghent, reprefenting the Affumption of the' 
 Virgin* 
 
 Theodore^ 
 
SCH 
 
 I 606 ] 
 
 SCH 
 
 Theodore Vander SCHUUR. 
 
 Painted Hi/lory and Portrait. 
 
 DIED I705, AGED 77. 
 
 He was born at the Hague, in 1628, and when very young went to Paris, and placed 
 himfelf as a difciple with Sebaftian Bourdon, with whom he made a great progrefs in the 
 theory and practice of his art. 
 
 When he found himfelf capable of receiving farther improvement, by viewing the 
 curiofities of Italy, he travelled to Rome, applying himfelf inceflantly to his ftudies; and 
 after a critical furvey of the works of the beft mafters, he particularly chofe to copy the 
 compofitions of Raphael and Julio Romano, in which he fucceeded fo happily, that his 
 performances engaged the notice and approbation of the ableft judges at Rome. His 
 reputation rofe at laft to fuch a height, that Queen Chriftina honoured him with her favour 
 and patronage; fhe employed him in feveral confiderable defigns, and paid him with a 
 liberality becoming a crowned head. 
 
 At his return to the Hague, he found his countrymen prepoflefled fo ftrongly in his 
 favour, that he received all poffible encouragement. He was engaged by the principal 
 perfons in that city, and acquired extraordinary honour by a grand compofition which he 
 painted on a cieling of the town-houfe, in the apartment of the Burgo-mafter, being an 
 allegorical reprefentation of Juftice, Temperance, and Fortitude. 
 
 It is obferved of this mafter, that his works have abundantly more of the Italian than 
 of the Flemifti tafte. He had a good manner of defign, a fine understanding of perfpeclive 
 and architecture, and always enriched his back-grounds with noble remains of Greek 
 "and Roman antiquities. 
 
 Christopher SCHWARTS. 
 Painted Hijiory. 
 
 DIED 1594, AGED 44. 
 
 He was born at Ingolftad, in 1550 (though Vanmander, and after him Defcamps, 
 mention Munich as the place of his nativity), and was diftinguifhed by the appellation 
 of the German Raphael. He learned the firft principles of the art in his own country, 
 but finifhed his ftudies at Venice, where he not only made the works of Titian his model, 
 but had the advantage alfo of receiving fome instructions from that illuftrious mafter. 
 
 He ipent fome years at Venice with fuccefs, and qualified himfelf to appear with honour 
 in his own country. His works were foon in the higheft efteem, as his manner of painting 
 was very different from what the Germans had been accuftomed to before that time ; and 
 he was immediately invited by the Elector of Bavaria to his Court, and appointed his 
 principal painter. 
 
 2 He 
 
S C H 
 
 f 607 ] 
 
 S E G 
 
 He was allowed to have a genius for grand compofitions; but although he fhook off 
 fome of his national tafte during his refidence in Italy, yet he could never entirely diveft 
 himfelf of it. His colouring was lively and natural, he had alfo a light free pencil, 
 which enabled him to work with great eafe and readinefs; but he was incapable of giving 
 his figures either the elegance, the grace, or the corredtnefs of the Italian mafters. He 
 gave up his whole attention to colouring, and feemed indifcreetly to neglect other parts 
 of his art which were at leaft as ellential, if not much more fo. Even to the laft he 
 retained a mixed manner, participating of the Roman, Venetian, and German: in the 
 attitudes and difpofition of fome of the figures in his compofitions he had fome refemblance 
 to the two former fchools; but in the airs of his heads, the countenances, and the 
 exprefiion, he feemed totally German. 
 
 The moft capital works of this mafter, as well in frefco as in oil, are iri the palace at 
 Munich, and in the churches and convents ; particularly in the grand hall of the Jefuits 
 in that city, there is a picture of the Virgin and Child, in which the air of the head is 
 noble, and the countenance fhews fuch an expreflion of modefty and innocence as is truly 
 worthy of the character, and alfo a degree of grace that is very rarely obfervable in his 
 figures. 
 
 Bernard SCHYNDAL, or Schendel. 
 
 Painted Hijiory and Converfations. 
 
 DIED 1716, AGED 57. 
 
 He was born at Haerlem, in 1659, and became a difciple of Mommers. His fubjedts 
 were taken from nature, but they were copied from low life, fuch as converfations, 
 merry-makings, and feafts; with views of the infide of the huts of fhepherds, boors, or 
 peafants. He had a neat manner of penciling, and in his ftyle of defign and colouring 
 imitated Oftade; and although he proved inferior to that mafter, he was at leaft on an 
 equality with Brakenburg. 
 
 SEBASTIAN del Piombo. Vid. Piombo. 
 
 Gerard SEGERS. 
 
 Painted Hijiory and Portrait. 
 
 DIED 165I, AGED 62. 
 
 He was born at Antwerp, in 1589, and learned the art of painting from * Abraham 
 Janffens; but when he had gained a good degree of knowledge under the direction of that 
 mafter, he travelled to Italy to perfect himfelf in his profeflion. At Rome he took pains 
 to copy fome of the moft celebrated paintings; but principally imitated the manner of 
 
 Manfredi, 
 
 * Defcamps fays he learned the art of painting from Henry Van Balen. 
 
S EG 
 
 I 608 ] 
 
 S E G 
 
 Manfredi, with broad lights oppofed by ftrong fhadows, which gave his figures a look of 
 life, and an aftonifhing relief and roundnefs. 
 
 The fubjects which he painted when he returned to Antwerp were generally like thofe 
 of Manfredi, foldiers playing at cards, or muficians performing on various inftruments, 
 with figures at half-length ; which had fo great an appearance of an Italian mafter, that 
 his works were exceedingly commended and coveted. By the conftant employment of hrs 
 pencil in thofe kind of compoiitions, as well as religious hiftorical fubjects for churches 
 and convents, he amafTed fuch a fortune as enabled him to live fplendidly, and to expend 
 fixty thoufand florins in the purchafe of capital pictures, the works of other great mailers, 
 for the ornament of his houfe. 
 
 Cardinal Zapata, the Spanifh ambaffador at Rome, fhewed 10 high an opinion of the 
 merit of Segers, that he prevailed on him to go with him to-Spain, where he recommended 
 him to the King in the ftrongeft terms. He painted feveral grand deiigns fo much to the 
 fatisfaction of that Monarch, that he loaded Segers with favours and rich prefents, and 
 folicited him earneftly to continue in his fervice; but he preferred the pleafureof revifiting 
 his native city, to the moft alluring profpects of honour and riches. However, fome of 
 the moft capital paintings of Segers are preferved in the royal collections in Spaira, 
 
 Whatever hiftorical pictures were painted by this mafter for the decoration of churches, 
 had the figures furl as large as life; and the particular merit of thofe compoiitions 
 confifted in the juftnefs and ftrength of the expreffion. He afforded a remarkable proof 
 of his ability in that refpect, by thofe pictures which reprefented the Crucifixion of 
 Chrift, and the Martyrdom of fome of the Apoftles; in which the expreffion was fo 
 affe&ingly true and natural, fo lively, and fo pathetic, as to call forth involuntary tears 
 from the eyes of the fpectators- 
 
 .Sandrart, who was intimately acquainted with Segers, obfef ves v that he avoided ufing 
 the bright blues, yellows, greens, and glaring colours, being always careful to preferve a 
 general harmony in his colouring ; and yet his pictures had fo great a degree of force, 
 that they made moft other paintings look weak and faint. In the latter part of his life 
 he altered his ftyle of colouring into a much brighter tone, like that of Rubens ; and 
 was in reality compelled to do ib by the tafte of the public, who preferred the colouring 
 of Rubens and Vandyck to that of the beft artifts of Rome or Venice. But as Segers 
 had fo extenfive a knowledge of the true principles of his art, the alteration of his firft 
 manner was not attended with any great difficulty. Sandrart allures us that when he 
 vilited Segers, and faw fome of his latter performances, he could not believe them to be 
 of his hand, till Segers himfelf affirmed that he painted them, and declared that he was 
 under aneceffityof changing the ftyle he moft approved of, to comply with the tafte of the 
 world, and to facrifice his fame to his fortune. 
 
 This mafter compofed his fubjects extremely well; he was correct in his defign, excellent 
 in his expreffion; and his colouring was warm, and full of force; for the oppoiition of 
 his lights and fhadows was conducted by a perfect: understanding of the chiaro-fcuro. 
 
 5 One 
 
S E G 
 
 I 609 ] 
 
 S E G 
 
 One of the moft capital defigns of Segers is a picture reprefenting the Denial of St. Peter£ 
 but his moft celebrated work is the Marriage of the Virgin ; a noble compofition, which 
 is the grand altar-piece in the church of the barefooted Carmelites at Antwerp. 
 
 Daniel SEGERS. 
 
 Painted Flowers^ Fruit, and Infeflu 
 
 *DIED l660, AGED 70. 
 
 He was {he younger brother of Gerard Segers, born at Antwerp, in 1590, and by his 
 brother was inftructed in the principles of painting ; but he afterwards was the difciple 
 of Velvet Brueghel, who at that time was in the higheft reputation for painting flowers. 
 The genius of Segers directed him to the choice of the fame fubjects that rendered his 
 mafter fo eminent ; he ftudied nature moft diligently, to qualify himfelf as thoroughly as 
 poffible, and imitated his models with extraordinary truth, exactnefs, and delicacy. 
 
 As he was of a ftudious difpofition, and appeared in his youth to have very promifing 
 talents, he was prevailed on to enter into the fociety of the Jefuits, and foon after was 
 permitted by his fuperior to vifit Rome and other parts of Italy, in order to his improve- 
 ment. Wherever he travelled he was critically curious in obferving the flowers, fruits, 
 plants, and infects, peculiar to each place ; and in defigning after them fo accurately, that 
 on his return to Antwerp he had a fufficient fupply to furnifh him with beautiful objects 
 for his future compofitions. 
 
 His ufual manner of difpofing his fubjects was in garlands of flowers and fruits, or in 
 feftoons around elegant vafes of marble. The centre of thofe garlands contained hiftorical 
 defigns, which were inferted by different mafters, as Rubens, Schut, and others; and the 
 vafes were alfo ornamented by other hands with figures reprefenting religious tranfactions 
 of Legendary Saints, and fometimes Bacchanals; but he always difpofed his objects with 
 fuch art and elegance, as eafily diftinguilhed his works from thofe mafters who painted 
 in his ftyle. 
 
 His pencil was light, his touch free and delicate; his flowers have all the frefhnefs arid 
 bloom of nature, and he finiflied every object with uncommon neatnefs. He had a 
 particular excellence in painling white lilies and red rofes, and through all his pictures 
 mewed a fine ftyle of colouring. His tints were tranfparent and natural, and thofe 
 infects which he introduced among the flowers feemed to be real nature. 
 
 Two of his pictures, moft exquifitely finifhed, were prefented to the Prince of 
 Orange, in the name of the fociety of which Segers was a member; for which that 
 fociety were fplendidly repaid. But his moft capital performance was in the Jefuits church 
 at Antwerp. The picture was a garland compofed of flowers and fruits, in which feemed 
 to be collected and combined every thing that was beautiful in nature of thofe kind of 
 
 4 H objects, 
 
 * According to fome writers, died in i663, aged 78s 
 
SE G [ 610 ] SE S 
 
 objects, as well as infe&s j and in the middle was the picture of the Virgin and Child, 
 painted by Rubens. 
 
 Many pictures which are afcribed to this mafter, are by others, painted in imitation of his 
 ftyle, or copies after him ; and fome of them not only unlike him, but totally unworthy 
 of his pencil or his ideas ; yet the genuine works of Segers are always very highly and 
 defervedly valued. 
 
 Hercules SEGERS, or Zegres. 
 Painted Landfcape. 
 
 This painter was a cotemporary of Paul Potter, and excelled in landfcape. He had 
 a fine invention, a ready genius, and a clear judgment. His compofition was rich, and. 
 full of a pleafing variety of mountains, vallies, and villages ; his grounds were well broken; 
 and, by a judicious management of his tints, improved by a fkilful oppofition of light 
 and fhadow, his diftances appeared exceedingly remote, and the fcene of his landfcape 
 looked uncommonly extenfive. His rocks and mountains were touched with great fpirit, 
 and for fweetnefs of colouring he was fcarcely inferior to any of the artifts of his time. 
 
 And yet, although he had the greateft application, joined to fingular merit, he was 
 deprefled and mortified almoft to death by obferving others to have more conftant employ- 
 ment, whofe works deferved abundantly lefs approbation. He was remarkable for having 
 invented a method of ftamping landfcapes on cloth, in which every object appeared in its 
 natural colour; but his project was not attended with fuch a degree of fuccefs as the 
 ingenuity of the contrivance juftly merited ; and he continued, to the laft period of his life, 
 oppreffed by undeferved poverty ; though, after his death, his works rofe confiderably in 
 their value, and were exceedingly coveted.. 
 
 Girolamo SERMONETA. Vid. Siciolante. 
 
 C^SARE DA SESTO. 
 
 Painted Hijiory. 
 
 He was born at Milan, about the year 1480, and bred to the profeflion of painting in 
 the fchool of Lionardo da Vinci, where he diftinguiflied himfelf above all the difciples of 
 that famous academy. When he found himfelf fufficiently inftructed to appear as an 
 artift, he quitted Lionardo, and went to Rome, where he improved himfelf ftill more by 
 the ftudy of the antiques, and was employed in the palace of the Pope, as alfo in the 
 apartments of the prime Nobility. 
 
 The compofition of this mafter was very learned, his tafte elegant, and he defigned 
 hiftorical figures with a great deal of grace ; nor can there be a more inconteftable evidence 
 of the merit of this mafter, nor any commendation fo much to his honour, as to mention 
 what is attefted by writers on this fubjec"*, that he was highly efteemed by Raphael. 
 
 John 
 
SIB 
 
 [ 6xi ] 
 
 S I G 
 
 John SIBRECTS, or Sybrecht. 
 Painted Landfcape and Cattle. 
 
 DIED I703, AGED 78. 
 
 He was born at Antwerp, in 1625, and learned the rudiments of the art from his father; 
 but having taken pains to ftudy after nature for fome years, he applied himfelf afterwards 
 to ftudy the works of Berchem and Jardin, and proved fo happy in his imitation of thofe 
 mafters, that fome of his copies have been fuppofed originals of thofe great artifts. 
 
 He was invited to England by the Duke of Buckingham, and employed by him at 
 Cliveden-houfe for three or four years; and afterwards found fufficient encouragement 
 from many of the Nobility and Gentry at London, for whom he painted a number of 
 pictures, in water-colours as well as in oil, with credit. 
 
 Girolamo SI CIO L ANTE, da Sermoneta. 
 Painted Hi/lory and Portrait, 
 
 DIED 1550, AGED 46. 
 
 He was born at Sermoneta, in 1 504, and received his firft inftrudtion in the art from 
 Leonardo da Piftoia, with whom he was placed as adifciple; but he acquired a much 
 greater degree of improvement underthe direction of Pierino del Vaga. 
 
 His manner of painting was very agreeable, it was bright and pleafant; his compofition 
 was good, and his tafte of defign elegant, as he made Raphael his model, and in all his 
 works endeavoured to refemble him. He was employed by the Pope to adorn fome of his 
 palaces, along with the moft eminent painters at Rome; and in the chapel of Sixtus IV. 
 he defigned the hiftoryof Pepin, King of France, giving Ravenna to the church of Rome; 
 as alfo, in another chapel, he painted a Nativity, which is accounted a very grand perform- 
 ance, the airs of the heads being extremely fine, and the whole tolerably well coloured. 
 
 Luca SIGNORELLI. 
 
 Painted Hi/lory and Portrait, 
 
 DIED 1521, AGED 82. 
 
 He was born at Cortona, in 1439, and placed as a difciple with Pietro della Francefca, 
 who was alfo diftinguiftied by the name of Pietro dal Borgo San Sepulchre He 
 profited fo much under the guidance of that matter, that it feemed fcarce poflible to 
 determine which was the work of the one or of the other ; and he became not only a moft 
 exact imitator of Pietro, but he confiderably furpafied him. 
 
 No artift of his time was more admired for defigning naked figures, for giving them 
 elegant forms, and a juft character of nature and life. And an undoubted teftimony of 
 his merit, is the approbation of Michael Angelo Buonaroti, who not only publicly 
 commended his works, but borrowed feveral of his ideas ; and transferred fome of the 
 
 4 H 2 figures 
 
SIR [ 612 ] SIR 
 
 figures of Signorelli's compofition into his own grand performance of the Laft Judgment, 
 He worked equally well in frefco and in oil, (hewing as remarkable an excellence in 
 portrait as in hiftory; and in his celebrated defign of the final diflblution of the world, 
 which he painted in the chapel of the Virgin at Orvieto, he introduced the portraits of 
 many eminent perfons with whom he was connected in friendftiip, or who had been his 
 patrons or benefactors. It was to that particular picture Buonaroti was indebted for 
 many figures of angels, demons, and human forms, which appear in his Laft Judgmentj 
 painted in the chapel of Sixtus IV. 
 
 The invention of this ancient matter was ready and fertile; his manner of reprefenting 
 the naked, was delicate ; he gave a great degree of grace to the airs of his figures ; and 
 the difpofition of thofe which were hiftorical, fhewed an excellent judgment, with elegance 
 of tafte. 
 
 It is recorded of Signorelli, that a fon of his (an amiable youth of very promifing 
 talents) being killed at Cortona, he had fuch an uncommon firmnefs of mind, that though 
 he loved that fon with the utmoft parental tendernefs, yet, when he received the afflicting 
 account of his death, he ordered the body to be laid naked in his painting room ; and 
 there, without ftiedding a tear, painted from the corpfe a. living likenefs of his fon; 
 perpetuating, by the power of his art, what nature had formed periftiable. 
 
 A great number of the works of Signorelli are in the churches of Arezzo, Perufia, 
 Cortona, Siena} Loreto, and Florence, which are exceedingly efteemed ; and his compo- 
 fitions were the means of enabling fucceeding artifts to approach much nearer to 
 perfection* 
 
 Giovanni Andrea SIRANL 
 Painted Hiftory. 
 
 DIED 167O, AGED 6o» 
 
 He was born at Bologna, in 1610, and learned the art of painting in the fchool of 
 Guido. He ufually painted in a large fize, and a grand ftyle, like that of his. mafter; 
 but his manner was ftrong, and rather too dark ; though his compofition is good, and a 
 great deal of grace appeared in his attitudes, and in the airs of his heads. 
 
 'At Rome there is a Laft Supper of this matter's hand, which alone would be fufficient 
 to prove him a very diftinguiftied painter. 
 
 Elizabetha SIRANL 
 Painted Hiftory. 
 
 DIED 1664, AGED 26. 
 
 She was the daughter and difciple of * Andrea Sirani, born at Bologna in 1638, and 
 was accounted a prodigy, as well for invention as execution, before me arrived at her 
 
 fifteenth 
 
 * Mr. Cochin, in his Voyage d'ltalie, vol. ii. p. 123, mentions Elizabetha Sirani as a difciple of Guido, and fome other 
 writers are guilty of the fame miftake ; but, as /he was not born till the year 1638, and Guido died in 1642, ihe could 
 have been but four years old at the death of Guido, and therefore it was impofiible that ihe could have been his difciple; 
 but ihe learned the att of painting fionaher father, who had been the difciple of that inimitable matter. 
 
 j 
 
S I R 
 
 C 613 ] 
 
 S I R 
 
 fifteenth year. She painted in the manner of her father, but not with an equal freedom 
 of hand; though her works might, in many refpecb, jftand in competition with his. 
 
 At a time, when me was univerfally admired for her performances, and efteemed for 
 her amiable qualities, fhe died of poifon, adminiftered to her by perfons who were never 
 difcovered, though it was generally believed that (he was poifoned by thofe who envied 
 her merit. 
 
 In a chapel of the church of St. Leonardo, at Bologna, is an admired picture, painted 
 by Elizabetha Sirani; of which the fubject is St. Anthony of Padua Rifling the feet of the 
 Infant Jefus. It is a beautiful compofition, and is executed in a firm and free manner 5 
 the heads of the figures are full of grace, and the whole is excellently coloured. And in 
 the Palazzo Zambeccari, at Bologna, there are three paintings of this female artift, which 
 are very highly commended; one is a picture of the Virgin; another a Magdalen, which 
 is extremely fine ; and a third is a reprefentation of St. Jerom. 
 
 Violante Beatrice SIRIES. 
 Painted Portrait and Hi/lory. 
 
 This paintrefs was born at Florence, in 17 10, and became the difciple of Giovanna 
 Fratellini, who at that time lived in very high efteem at Florence ; by whofe excellent 
 inftruclion fhe made an extraordinary proficiency, and praclifed water-colour and crayon- 
 painting under her direction, till Ihe was fixteen years of age. She then quitted her 
 native city, and werit to Paris with her father, who was appointed goldftnith to the King 
 of France; and in that city fhe redoubled her application to learn the art of painting in 
 oil, having an eminent Flemifh painter for her director. She continued at Paris for five 
 years, and not only enriched her mind with every kind of ufeful knowledge, but me 
 alfo fhewed her ability in colouring, by feveral portraits of perfons who were of the 
 firft rank among the Nobility, which fhe had finifhed after the life. 
 
 Thofe performances procured her fuch general applaufe, that fhe was invited to paint 
 the portraits of the Royal Family; yet (he was under a neceflity of declining that honour, 
 by returning with her father to Florence, as he had a very lucrative employment con- 
 ferred on him by the Grand Duke. 
 
 Notwithftanding the great improvement flie had already acquired, and the reputation 
 which very defervedly (he had eftablifhed, yet being Hill ambitious of gaining all pollible 
 afliftance to excel in her profeffion, fhe engaged Francefco Conti, an artift of lingular 
 merit, to give her farther inftruc~tion, as foon as fhe arrived in her native city ; and from 
 him fhe learned to defign correctly, with elegance of tafte, and a beautiful tone of 
 colouring. 
 
 The Grand Duke" exprefled an extraordinary efteem for this paintrefs, and honoured 
 her not only with his patronage, but ordered her portrait to be placed in the celebrated 
 gallery of artifts at Florence ; and it is obfervable, that to perpetuate the memory of 
 
 5 hes 
 
S L I 
 
 [ 614 J 
 
 S L I 
 
 her father, fhe introduced his portrait along with her own, giving at once a public proof 
 of her filial piety, and her diftinguifhed merit. 
 
 She painted equally well in oil and with crayons ; her pencil is light, delicate, and 
 free ; her carnations are natural and full of warmth and life ; and as fhe underftood 
 perfpeclive and architecture thoroughly, fhe made an elegant ufe of that knowledge, by 
 enriching her pictures with magnificent ornaments. Her draperies are generally well 
 chofen, full of variety, and remarkable for a noble fimplicity. 
 
 One of her capital performances is a picture in which are reprefented the portraits of 
 the Imperial family. The defign confifts of fourteen figures, in a fuperb apartment of 
 the richeft architecture; and through the whole compofition appears a fine tafte of defign, 
 a judicious difpofition, lovely colouring ; and the drefle3 of the figures have a becoming- 
 grandeur, fuitable to the dignity of the perfons. Moft of her paintings are in oil, in 
 which fhe frequently painted hiftorical fubjects, as alfo fruits and flowers; and fhe 
 executed every fubject with extraordinary tafte, truth, and delicacy. 
 
 John Peter Van SLINGELAND. 
 
 Painted Portraits and Converfations. 
 
 DIED 169I, AGED 51. 
 
 He was born at Leyden, in 1640, and was a difciple of Gerard Douw, whofe manned- 
 he always imitated; and in the opinion of fome good judges he even furpaffed his mafter, 
 in the delicate and high polifh which he gave to his pictures ; yet his figures are 
 confefledly much more ftifF. 
 
 The neatnefs of his penciling compelled him to work exceedingly flow; and an inftance 
 of his laborious patience is cited, in refpect to one family picture of Mr. Meermans, 
 which he finifhed fo exquifitely, that he fpent three whole years on that lingle picture. 
 By that manner of working it was not poflible for him to grow rich ; for, although he 
 demanded, and received very large prices for his paintings, yet he was in reality but 
 poorly paid for the time he employed about them. 
 
 He imitated nature exactly, but without any great delicacy of choice. His colouring 
 was nature itfelf, and the chiaro-fcuro in his works produced a moft charming effect j 
 but his tafte of defign was^ indifferent. However, he is ranked among the number of the 
 beft Flemifh painters, and his works are often miftaken for thofe of Mieris and Gerard 
 Douw. A remarkable picture of Slingeland's painting, is a girl who holds a moufe by 
 the tail, and a cat jumping at it, which is exquifitely finifhed, very naturally coloured, 
 and as tranfparent as the beft of Douw or Mieris; and another, mentioned by Houbraken, 
 is, the portrait of -a Sailor with a woollen cap on his head, which is fo highly and minutely 
 wrought, that every thread in the weaving is diftinguifhable. 
 
 2 Jacques 
 
SLU 
 
 C 615 ] 
 
 SMI 
 
 Jacqjjes Vander SLUYS. 
 Painted Converfations. 
 
 DIED I736, AGED 76. 
 
 He was born at Leyden, in 1660, and bred up in the Orphans hofpital, where his 
 gentle and pleafing demeanour, as alfo the appearance of a ready and lively genius, 
 recommended him to the favour of the governors, who determined to have him inftru&ed 
 in the art of painting, as he exprefled a particular fondnefs for that profeffion. At firft 
 he was placed under the care of Ary de Voys, and afterwards became the difciple of Peter 
 Van Slingeland. In a fhort time he grew expert in copying the works of his mafter, 
 and made fo happy a progrefs, that he readily compofed thofe kind of fubjects which 
 pleafed his own fancy, and always adhered to the manner of Slingeland in every thing 
 he painted. 
 
 He feemed peculiarly fond of reprefenting the fafhions, modes, and cuftoms of his own 
 time; and his fubje&s were fports, converfations, affemblies, and different kinds of 
 entertainments, in which he introduced perfons of both fexes, and diffufed a look of joy, 
 cheerfulnefs, and gaiety, through every countenance. He was very attentive to the 
 neaiinefs of his finifhing; but his defign, as well as that of his mafter, wanted elegance, 
 though there is always great harmony in his colouring. 
 
 Gaspar SMITZS, called Magdalen Smith. 
 Painted Portraits^ Female Penitents^ Fruity and Flowers. 
 
 * DIED 1689. 
 
 None of the Flemifli writers mention any circumftances relative to the native city* 
 the year of the birth, or the mafter from whom this painter derived his knowledge of 
 the art; but the Englifh writers reprefent him as a Dutch artift, who went firft to 
 England, and afterwards to Ireland, to follow his profeffion. 
 
 He was a painter of confiderable eminence, and excelled in miniature portraits, which 
 he painted in oil ; and they were very highly efteemed, for the refcmblance, the expreflion, 
 and alfo for a pleafing tone of colour, full of life and nature ; but his principal delight was 
 to paint Magdalens, which he executed in an admirable ftyle. His figures are well 
 drawn, and beautifully coloured ; and the airs of the heady, as well as the attitudes, have 
 a great deal of grace. He generally gave a folemn and engaging expreflion of grief to 
 his penitential fubjects; and, for the moft part, introduced a thiftle in the fore-ground, 
 delicately finifhed, by which his pictures of that kind are ufually diftinguifhed. It is 
 reported that an Englifh gentlewoman, of an agreeable perfon, who paffed for his wife, 
 was his model for all the Magdalens he painted. 
 
 Befide 
 
 * According to Graham, in his Lives of the Painters, Smth. died in 1689 5 but, according to Vertue, he died in 1707, 
 
SMI 
 
 [ 616 ] 
 
 SNA 
 
 Befide his excellence in portrait and hiftorical figures, he painted fruit and flowers in 
 great "perfection ; and they were in fuch high efteem, that a picture, which confided only 
 of one bunch of grapes, was fold in this kingdom for forty pounds. He was induced to 
 vifit Ireland by the perfuafion of a lady of diftinction, who had been his pupil while he 
 relided in London, and was coming to this kingdom ; and, on his arrival,he found as great 
 an encouragement as might fatisfy the mod fanguine expectation. He had the higheft 
 prices for his works, and as much employment as he could poflibly execute j yet, notwith- 
 ftanding all his acquisitions, his extravagancies kept him always neceflitous, and he died 
 in the city of Dublin, extremely diftreffed, although his reputation as an excellent 
 painter was univerfally eftablifhed. 
 
 Xodowick S M I T S, alias Hartcamp, 
 Painted Hijiory and Fruit. 
 
 DIED 1675, AGED 40. 
 
 He was born at Dort, in 1635, and was remarkable for a very fingular manner of 
 handling, by breaking and fcumbling his colours ; but he did it in fuch a manner as to 
 produce a very good and natural effect j and his fruit-pieces in particular were fo much 
 coveted, that, as foon as they were finiftied, they were brought up. 
 
 However, his paintings foon loft, their original beauty, by the colours being too much 
 fcumbled, and unlkilfully mixed and broken, which depreciated his works in a fhort 
 time ; and when he was reproached with that defect, he only anfwered, humoroufly, that 
 his pictures lafted much longerjthan .the money that purchafed them. 
 
 Peter SNAYERS. 
 Painted Hijiory, Portraits, Battles, and Land/cape. 
 
 DIED 167O, AGED 77. 
 
 He was born at Antwerp, in 1593, and fuppofed to have been a difciple of Henry Van 
 Balen. 1 He ftudied every branch of his art with fo much care, that he diftinguiflied 
 himfelf, not only by an excellent manner of painting hiftory, but likewife by painting 
 battles, huntings, landfcapes, and portraits, in all which he was equally eminent. His 
 tafte of defign was good; his animals have confiderable fpirit and life ; his pencil is free, 
 arid frequently delicate j and fometimes his colouring was not unworthy of Rubens. 
 
 The Archduke Albert was ftrongly attached to him, on account of his extraordinary 
 merit, and appointed him to be his principal painter, with a large penfion, which afforded 
 him the means of exerting his genius, and employing his pencil as much to his honour 
 as his advantage. The churches, and many of the grand apartments at Bruffels, are 
 ornamented with his paintings j and what feems an indifputable proof of his poffefling 
 very eminent talents, is, that his works were commended by the two belt, artifts of his 
 time, Rubens and Vandyck. 
 
 John 
 
S N E 
 
 C 617 3 
 
 S N Y 
 
 John SNELLINCK. 
 
 Painted Hi/lory and Battles. 
 
 DIED 1638, AGED 94. 
 
 He was born at Mechlin, in 1544, and is mentioned by Van Mander with great 
 honour, for painting hiftory and battles. His excellence principally confifted in painting 
 horfes, and giving them graceful and fpirited attitudes and actions, with a firm correct 
 outline in every member. 
 
 The figures in all his compofitions were difpofed in agreeable groups ; He exprefled 
 the hurry and confufion of an engagement with fingular judgment and fkill 5 and 
 contrived the darknefs arifing from the clouds of fmoke, in fo artful a manner, as to 
 relieve and animate his figures. 
 
 The greateft Princes, and the prime Nobility, employed him inceffantly; and he 
 received the higheft honour by the approbation of Vandyck, who efteemed him one of the 
 beft painters of the Low Countries, and teftified that efteem, by painting the portrait of 
 Snellinck, which was afterwards placed over the tomb of that artift, in the parifh church 
 of St. James at Antwerp. 
 
 Francis SNYDERS, or Sneyers. 
 Painted Animals^ Fruity Land/cape, Huntings^ and Still Life. 
 
 DIED 1657, AGED 78. 
 
 He born was born in*i579, at Antwerp, where he became a difciple of Henry Van 
 Balen. The firft fubjects which he painted were fruits of different kinds, and ftill life; 
 but afterwards his genius prompted him to paint animals, and in that ftyle he was 
 accounted fuperior to the greateft matters of his time. He ftudied nature accurately; 
 and his imitation of every object fhewed; not only great exactnefs and correction, but an 
 equal degree of judgment in the goodnefs of his choice. 
 
 Though he had gained confiderable credit by his performances in his own country, 
 yet, from an eager defire to improve himfelf, he travelled to Rome; and there having an 
 opportunity of obferving the works of Caftiglione, he was fo captivated with the ftyle 
 and manner of that great painter, that he not only endeavoured to imitate, but exerted 
 himfelf, if poflible, to furpafs him. From that time his ufual fubjects were huntings, 
 engagements of wild beafts, kitchens, mops with fruit and vegetables, dead game, and 
 chaces of the fox and the ftag j in which every object fhewed truth and nature, every 
 animal had an exprefiion fuitable to his fpecies or fituation ; the landfcape was always 
 defigned in a fine tafte, and the whole compofition was admirable. 
 
 4 I If 
 
 * The author of the Abrege de la Vie des Peintres fixes the birth of Snyders in the year 1487, eight years later than 
 moft other writers, who agree that he was born in 1 579* and died in 1657. v 
 
S N Y 
 
 [ 628 ] 
 
 S O E 
 
 If any of his defigns required figures of a larger. iize, they were generally inferted . 
 by Rubens or Jordaens, which ftill gave an additional value to his works. And thofe 
 excellent artifts fo thoroughly underftood the nature of tints, and were fo expert in their 
 manner of handling, that every picture, though finiftied by the combined work of 
 two or three different hands, appeared to have been the cornpontian and execution of 
 only one mailer. , ' 
 
 His touch is light, and yet firm) his ftyle of compofition is rich,' and full of variety; ; 
 his colouring is remarkable for truth, nature, warmth, and force ;^ his animals are 
 defigned in a grand tafte, their actions, attitudes, and all. their motions, having life, fpirit, 
 and expreffion; and he was fo exact, that he made even the ikins and hair of his animals 
 appear to be real. 
 
 The Archduke Albert, who was governor of the Netherlands, appointed Snyders to 
 be his principal painter; and the King of Spain adorned his palaces with feveral 
 huntings of the wild boar and the ftag, by that great painter; as alfo did the Elector 
 Palatine; and in their fuperb collections are ftill preferved fome of the beft works of 
 that mafter. 
 
 Rubens, who well knew how to prize the merit of Snyders, employed him frequently 
 to paint the landfcape in the back-grounds of his pictures; and although Rubens painted 
 animals and landfcape incomparably well, yet he often intrufted Snyders to paint both, as 
 alfo did Jordaens. It is greatly to the honour of three fuch celebrated artifts, that they 
 aflbciated together in the ftricteft friendfhip, mutually affifting each other in a moft 
 amicable manner ; and the works of Snyders, Rubens, and Jordaens, where they have 
 been painted in conjunction, are, perhaps, more eftimable than if they had been the 
 production of any one of them. 
 
 Gerard SOEST, or Zoust. 
 Painted Portrait. 
 
 DIED l68l, AGED 44. 
 
 He was born in Weftphalia, in 1637, and learned the art of painting in his own 
 country; but went to England, about the year 1656, and very foon grew into efteem for 
 portrait-painting, as his pictures had force, nature, and warmth of colouring, to recom- 
 mend them; and although they appear to be highly fmifhed, yet they ftiew freedom, fpirit, 
 and good expreffion. 
 
 The portraits of his men were indeed often excellent; but in his female forms he 
 wanted grace and elegance, and was very rarely commendable in his choice. His draperies 
 are frequently of fatin, in the manner of Terburgh ; but as he gradually became more 
 converfant with the works of Vandyck, while he refided in England, his ideas were more 
 enlarged, and his tafte much more improved. However, he never wanted employment, 
 But always found encouragement equal to his merit. 
 
 Antonio 
 
SOL 
 
 [ 6r 9 '] 
 
 S O L 
 
 Anton' io Maria dal SOLE. 
 Painted Land/cape. 
 
 DIED 1677, AGED 80. 
 
 He was born at Bologna, in 1597, and was a difciple of Albano; but he principally 
 applied himfelf to landfcape-painting, and in that branch rendered himfelf defervedly 
 eminent. His fituations were always beautifully chofen, his diftances are pleafing, the 
 perfpective receding of his objects is conducted with great (kill and judgment, and his 
 colouring is bold and lively. 
 
 It was remarked of him that he painted, and alfo conftantly wrote, with his left hand, 
 and had full as much command of it as others have of their right. 
 
 Giuseppe dal SOLE. 
 
 Painted Hi/iory, Landfcape, and Architecture* 
 died 1719, aged * 65. 
 
 He was born at Bologna, in 1654, and was the fon of Antonio Maria dal Sole, who 
 beftowed the utmoft care on his education, in feveral branches of polite literature ; and 
 inftructed him in the firft principles of the art of painting, as he had obferved that his fon 
 Would not permit any other ftudies to interfere with his determined application to defign. 
 
 Antonio foon perceived the proficiency of his fon under his own direction, and 
 therefore refolved to give him the afliftance of the ableft mafter, and placed him as a 
 difciple with Domenico Maria Canuti, with whom Giufeppe continued his ftudies 
 afliduoufly. But he was interrupted in his progrefs by the indifcreet advice of Giufeppe 
 Mazza, his fellow difciple, who induced him to contemn the inftructions of Canuti, and 
 to ftudy together after the works of the Caracci; concluding that they might more 
 readily attain to the perfection of their art by that method. 
 
 This project they intended to execute, by reforting to the collection of Count 
 •Alexander Fava, to copy the paintings of the Caracci, which were preferved in that 
 Nobleman's palace; and It is probable that they would have injured their talents, by 
 following the dictates of their unguided fancy, if the Count had not diffuaded them from 
 fo dangerous an experiment, and prevailed on them to become the difciples of Lorenzo 
 Paffinelli. 
 
 Giufeppe therefore applied himfelf to the directions of that mafter ; and, by the precepts 
 he received for the management of his pencil, as alfo for the improvement of his 
 judgment and tafte, he gradually rofe into reputation. He imitated the agreeable ftyle 
 ■of Paffinelli with fo much fuccefs, in the copies which he made after the works of that 
 great artift, that thofe copies were examined by the molt able judges with furprife as 
 
 4I2 well 
 
 * The author of the Mufeum Florentinum affirms that he died at 73 years of age j but as he was confefTedly born Ira 
 5654, and died in 1719, he could only be fixty-five at his death. 
 
SOL 
 
 [ 620 ] 
 
 SOL 
 
 well as fatisfaction, and they were confidered as proofs of extraordinary abilities \ for 
 it was obferved, that, although the copy was truly exact, yet Giufeppe touched every 
 part-with certain peculiar graces, which in an inftant diftinguiflied his work from that 
 of his mafter. 
 
 He proved an excellent painter of hiftory, and not only defigned his figures with fingular 
 correctnefs, but he gave them grace and expreflion. Landfcape alfo, and architecture, 
 he painted in a fine tafte, and his portraits were as highly efteemed as any other part of 
 his compofitions ; for all thofe objects which he thought proper to introduce in his pictures, 
 either for ornament or elegance, were always painted with an exact refemblance of 
 nature. 
 
 Three of the pictures of this mafter were univerfally commended, and particularly 
 admired for the beauty of the expreffion. One was the death of Priam, killed by Pyrrhus 
 in the Temple of Minerva, in which he alfo reprefented the diftrefs of Hecuba j and that 
 capital painting is now in the poffeilion of the Marquis Durazza at Genoa. Another 
 was the ftory of Queen Artemifia, prepared to drink the wine in which were mingled the 
 allies of her hufband ; which picture is now in the collection of the Senator Bovio; and 
 another admirable defign was that of Andromache and iEneas. 
 
 For fome time Giufeppe imitated his mafter Paffinelli, though he proved in feveral 
 refpects his fuperior; but afterwards his models were the Caracci's and Raphael, from 
 whom he acquired correctnefs of defign and grace. But in his latter time, towards the 
 decline of life, he feemed to attend more to Guido and Ludovico Caracci. A picture of 
 Diana and Actaeon, by Giufeppe dal Sole, is at Wilton, in the Pembroke collection. 
 
 Francesco SOLIMENA. 
 Tainted Hijlory^ Portrait^ Architecture, Landfcape^ and Animals, 
 
 DIED I747, AGED 90. 
 
 He was born at Nocera de Pagani, a village about eighteen miles diftant from Naples, 
 in 1657, and was the fon of * Antonio Solimena, a painter of confiderable rank, by whom 
 he was intended for a Jearned profeffionj and, with that view, was early inftructed in 
 philofophy and mathematics. But the prevalent inclination of Francefco to the art of 
 painting influenced him to devote every leifure hour, and particularly many hours of the 
 night, in defigningj for which he was often rebuked by his father, who^ concluded that his 
 fon's application to painting would too much interfere with his other ftudies. 
 
 While Antonio was in that difpofition of mind, Cardinal Orfini, who was afterwards 
 Pope Benedict XIII. happening to pafs through Nocera, vifited Antonio, who prefented his 
 fon to him ; and the Cardinal condefcending to examine Francefco, to try what progrefs he 
 had made in the fciences, exprefTed great fatisfaction at the -anfwers he received. Antonio 
 
 therefore 
 
 • The authors of the Abrege de la Vie des Peintrej call the father of Solimena Angelo, inftead of Antonio. 
 
SOL 
 
 C 621 j 
 
 SOL 
 
 therefore immediately laid hold of the opportunity to complain of his fon's mifapplication of 
 his time, expecting the Cardinal would concur with him in diffuading the youth from his 
 love to painting; and to convince that eminent perfon of the indifcretion of Francefco, he 
 fhewed him fome of his performances, which- were either copied from others, or of his 
 own compofition. 
 
 However, tire event did not anfwer the expectation of Antonio ; for, the Cardinal having 
 obferved a delicate tafte and a ftrong genius in Francefco, and being furprifed to fee fuch 
 productions from one who had never been regularly inftructed, advifed Antonio to indulge 
 his fon in the choice of a profeffion by which he would probably obtain riches as well 
 as honour. 
 
 Antonio followed that advice, and began to inftruct his fon with great care ; fo that, 
 in a fliort time, Francefco gave evident proofs of extraordinary talents, and defigned after 
 the naked with fingular tafte and correctnefs. Thus prepared, he was fent to Naples, 
 and placed as a difciple with Francefco di Maria, an excellent mafter for defign, who had 
 been bred up in the Roman fchool ; and who taught his pupils to practile according to 
 the beft rules and principles, reftraining the wildnefs of their imaginations, and directing 
 them to ftudy truth and elegance. 
 
 With that mafter Solimena applied himfelf diligently, defigned in the academy after 
 living models, and copied the works of the moft celebrated artifts ; felecting fuch only as 
 were accounted the beft, and endeavouring to form a ftyle that might recommend his 
 works to the efteem of the world. 
 
 At firft he imitated the manner of his father, but he afterwards fixed on Luca Giordano 
 as his model, for the livelinefs of his colouring, and the fpirited action of his figures ; on 
 Lanfranc, for the exactnefs of his outlines, and the judicious placing of his. objects j on 
 Pietro da Cortona, for animated expreluon, and harmony of colouring ; and on Calabrefe, 
 for the management of the chiaro-fcuro, and the variety of countenances. Nor did he 
 omit the imitation of Carlo Maratti, in the graceful airs of the heads, and the grand and 
 natural caft of the draperies. But, to perfect himfelf ftill more, he added to all the reft the 
 ftudy of nature ; to obferve the various effects of light on different bodies, and the tints 
 diffufed over objects by its reflections and refractions ; and by fo judicious a method of 
 acquiring knowledge, he rendered himfelf one of the moft admired painters of his time. 
 
 The firft public work of Solimena was a grand compofition, reprefenting the Aflump- 
 tion of the Virgin, which was received with amazing applaufe ; and every future work 
 ferved only to increafe his reputation. As he had been always folicitous to fee Rome, he 
 took an opportunity to gratify himfelf in that point; and although the fituation of his 
 affairs would not permit him to indulge himfelf fo far as to refide in that city for any great 
 length of time, yet he left nothing that was curious of the ancient or modern artifts 
 unobferved. But, his particular attention was employed on the works of Raphael, Dome- 
 nichino, Guido, Lanfranc, the Caracci, and Carlo Maratti. 
 
 At his return to Naples, he nnifhed an incredible number of paintings; his works were 
 folicited by the King, by the greateft of the Nobility of his own country, and by moft of the 
 
 2 Princes 
 
SOL [ 622 ] SON 
 
 « 
 
 Princes of Europe; but his mofl: conftant employment was for the churches and convents 
 pf Italy* The King of Naples honoured him with his particular efteem ; and, that pofterity 
 might know the friendxhip that fubfifted between them, he delired to have a picture,~repre- 
 fenting him in familiar converfation with Solimena. He fat to him for his own portrait, 
 which was in every refpect admirably executed ; and the portrait of the painter was as 
 ftriking in the likenefs, as the portrait of the King. 
 
 Towards the latter part of his life, his fight was greatly impaired ; yet that misfortune 
 was not fo much imputed to his advanced years, as to fome defect in the organ itfelf. From 
 that time his paintings were very inferior to his more early performances ; though, even 
 in thofe which are leaft to be commended, fomewhat of the great mafter is always difcernible. 
 
 Solimena poiTefled a mofl extenfive genius; he painted in a fmall fize as well as in a large, 
 in frefco and in oil, and excelled equally in hiftory, landfcape, portraits, animals, perfpective 
 and architecture, fruit and flowers. His figures were elegant, cor reel:, and graceful; his 
 pencil is foft and fpirited, and his draperies are broad and nobly difpofed. His fkies, 
 his grounds, and his trees, have a peculiar and admirable tint; and in his colouring we 
 fee tendernefs and force uncommonly and harmonioufly united. In fhort, his tafte was 
 exquifite, his compofition rich, and his imagination lively, fruitful, and elevated ; and it was 
 . obferved of him, that he chofe as often as poffible to paint after nature, left too fond an 
 attachment to the antique fhould damp the fire of his fancy and invention. 
 
 The bent of the inclination of Solimena was to form youth ; for which he deferved to be 
 highly applauded. He pointed out to them, in the, moft eafy and famiiiar manner, every 
 curious or inftructive obfervation he had made, either in the principles or the practice of his 
 art. He took pains to make the young artifts acquainted with the perfections of the 
 mofl: celebrated mafters ; which knowledge he himfelf had acquired by intenfe ftudy, and 
 judicious reflections; and he conftantly inculcated the necefllty of feeking out beautiful 
 forms, and the fine proportions of nature, to unite with them the elegance of the antique. 
 
 Joris Van SON, or Van ZOON, the Old. 
 
 Painted Fruit and Flowers. 
 
 He was born at Antwerp, in 1622; but the mafter under whom he fludied the art of 
 painting is not afcertained. It is only obferved, that his compofitions have in fevera! 
 - refpe&s confiderable merit; that his objects are generally well grouped, and alfo well 
 , 4efigned; and are painted with a light pencil, and a clear natural tone of colour. 
 
 John Van SON, or Van ZOON, the Young. 
 
 Painted Fruity Flowers and Still Life* 
 
 DIED 1702, AGED 41. 
 
 "He was the fon of Joris Van Son, born at Antwerp, in 1661, and was likewise his 
 difciple. In refpect of his choice of fubjects, as well as in refpect of his handling and 
 
 colour, 
 
S. O N 
 
 C 623 ] 
 
 S O R 
 
 colour, he painted exactly in the manner of his father; although he excelled him in a very- 
 high degree, in every part of his profeffion. To the knowledge which be had acquired 
 from his inftructor, he added a continual ftudy after nature; he fketched every object^ 
 and by a curious and intelligent obfervation of what was beautiful in fruits and flowers, 
 he gave his lubjects an uncommon appearance of truth, and furniflied himielf with almoft 
 an endlefs variety. 
 
 As he had conceived a very high and a very juft opinion of the tafte and benevolent 
 principles of the Engl ifh nation, he determined to fettle himfelf at London ; and on his 
 arrival in that city, he met with fo kind- a reception as even exceeded his moft fanguine 
 expectations ; for he was immediately employed, and he painted in a large as well as in 
 a frnall fize. It was his cuftom to fketch out feveral defigns, before he took pains to 
 finilli a Tingle picture ; by which means abundance of rough drafts, and the firft markings 
 of his ideas, were found at the death of this mailer, which other artifts endeavoured r,Q 
 finifh, but without fuccefs. 
 
 He feemed particularly attentive to the finifhing of his works with the utmoft neatnefs j 
 nor did he neglect any thing that might add to their luftre, or procure to him the appro- 
 bation of the public. His fubjects ufually were flowers, fruits, Turkey carpets, curtains 
 ornamented with gold or filver, and fuch like ; and he difpofed 'his objects with fo much 
 IkiU, that he made each particular incident in- the compofition contribute to a general 
 harmony. 
 
 His pictures, in large as well as in fmall, fhew judgment and genius; his flowers have 
 great truth, variety, and delicacy'; nor could any of his cotemporaries furpafs him, in repre- 
 fenting bunches of grapes; for he finiflied them with fo great a degree of tranfparence 
 and truth of colour, that the light feemed to be tranfmitted through them, fo that even the 
 pulp and the feeds were perceptible. 
 
 The paintings of John Van Son, although they are often confounded with thofe of his 
 father Joris, through a want of fkill and difcernment in fome who account themfelves 
 connoiffeurs, are yet very different both in the ftyle and the compofition, and are always 
 inexpreflibly fupericr. 
 
 SOPHONISBA. Vkl, Angusciola. 
 
 Hendrick Marten s.ze SORGH, or Z O R G. 
 Painted Hiflory-) Conversations^ Fairs y and Italian Markets* - 
 
 DIED l682, AGED 6l. 
 
 He was born at Rotterdam, in 16,21, and his real name was Henry Martin Rokesj 
 but his father, Martin Rokes, being mafter of a barge which carried merchandize between 
 Dort and Rotterdam, was nick-named Zorg (or the careful) on account of his induftry 
 and diligence i and that appellation defcended to all die family, 
 
 5 . • Hendrick 
 
SOR 
 
 C 624 j 
 
 S P A 
 
 Hendrick was at firft the difciple of David Teniers, and from his penciling and 
 colouring it is eafy to obferve the fchool from whence he derived his knowledge of the 
 art; but he afterwards ftudied under the direction of William Buytenweg, who was 
 efteemed an excellent painter of converfations ; his ftyle of compolition being rather 
 more elevated than that of Teniers. 
 
 As Sorgh had therefore perfected himfelf under two fuch able artifts, he obtained from 
 Teniers a pleafing and delicate manner of colouring, and from the other an agreeable 
 manner of defign; yet he frequently varied his ftyle, fometimes painting in the manner 
 of each of thofe mafters, and fometimes he imitated the ftyle of Brouwer, though in 
 general he imitated Teniers. 
 
 Houbraken mentions an Italian Fair painted by Sorgh, with a multitude of figures, and 
 alfo a fifti-market : in the former is a bafket of ducks and other fowls ; and in the latter, 
 different kinds of fifti painted after nature in an exquifite manner; and the figures as well 
 as the back-grounds are cleanly and lightly handled, fomewhat refembling the manner 
 of Wycke. 
 
 PlETRO SORRI. 
 
 Painted Hi/lory, Landfcape^ and Portrait, 
 
 DIED l622, AGED 66. 
 
 He was born at Siena, in 1556, and learned the firft principles of the art from 
 Archangelo Salimbeni, a painter of great reputation; by whofe precepts he improved as 
 much as it was poflible for the time he continued under that mafter. But when he 
 afterwards obferved the great excellence of Paflignano, and difcerned in the works of that 
 eminent artift an exquifite union of nature and art, he ftudied them inceflantly, and fo 
 entirely devoted himfelf to Paflignano that he attended him to Venice. 
 
 In that city he acquired additional improvement by the opportunity he had of attending 
 to the grand cofhpofitions of Paolo Veronefe ; and, at his return to Florence, he received 
 the higheft marks of approbation and applaufe, for the beauty of his colouring, and the 
 elegance of his tafte in his compofition and defign. 
 
 He excelled in landfcape and portrait, as well as in hiftory; he had a ready and fine 
 invention; his pencil was very free and mafterly; his imitation of nature, beautiful and 
 juft j and his thoughts were grand and elevated. 
 
 Giuseppe Ribera, called SPAGNOLETTO. 
 Painted Hijiory and Portrait. 
 
 DIED 1656, AGED 67. 
 
 This great painter was born at Xativa, a city about nine or ten leagues from Valentia 
 in Spain, in the year 1589. His parents were but in low circumftances, and unable to 
 
 give 
 
SPA 
 
 C 625 ] 
 
 SPA 
 
 give him thofe advantages of education, or inftruction in painting, which his early genius 
 feemed to demand ; and therefore he quitted his own country, and travelled when he was 
 very young to Italy, from a defire to purfue his favourite inclination to the art of 
 painting. 
 
 The firft place where he took up his refidence was at Parma, where he found himfelf 
 exceedingly affected by the fight of the works of Correggio, which are the ornaments of 
 that city; and he ftudied that mafter fo thoroughly, that at laft he qualified himfelf not 
 only to copy him, but alfo to imitate his manner fuccefsfully ; and there is a picture of his 
 hand in the chapel of St. Maria Biancha, at Parma, which (it is faid) hath more the 
 appearance of the ftyle and pencil of Correggio than of Spagnoletto. 
 
 When he left Parma he went to Rome, and there altered his manner entirely, by 
 adopting the ftyle of Caravaggio. Like that mafter he painted with bold broad lights and 
 fhadows, and gave fo furprifmg a degree of force to his pictures, that the works of molt 
 other artifts, when placed near them, appear comparatively weak and feeble and in their 
 effect. However, he was fometimes cenfured as being too black and dry; and although 
 in the tints of his colour he might be accounted equal to his model, Caravaggio, and 
 fuperior to him in correctnefs of defign, yet he wanted the fweetnefs and mellownefs of 
 the pencil of that mafter. 
 
 Having at length eftablifhed his tafte and ftyle, as to. colouring and defign, which he 
 retained ever after, he fettled at Naples, where his works were exceffively admired; and 
 he was enriched by his being perpetually employed for the Viceroy, for the King of Spain, 
 and for many of the Potentates of Europe, who were ambitious to poffefs fome of the 
 performances of Spagnoletto; but Spain and Naples are the principal repofitories of his 
 works. He frequently painted hiftorical figures, as well as portraits, at half-length, 
 and was exact to an extraordinary degree in imitating the life; he finifhed a great number 
 of eafel pictures, which are difperfed through all Europe, but he rarely worked either for 
 the churches or convents. 
 
 His natural turn was to defcribe fubjects which excite horror, whether he felected 
 them from facred or profane hiftory; fuch as martyrdoms of faints; the flaying of St, Bar- 
 tholomew; St. Lawrence on the gridiron; the murder of the Innocents; or the torments 
 of Ixion and Prometheus; or Cato tearing out his own bowels. He was alfo particularly 
 fond of defigning emaciated limbs and bodies of old men, fuppofed to be reduced to that 
 condition by mortification and abftinence; fuch as hermits and t. Jerom; which fubjects 
 were extremely agreeable to the Spaniards and Neapolitans, and were admirably 
 executed. 
 
 Sandrart mentions a picture of Ixion on the Wheel, painted by Spagnoletto, which was in 
 the poffeflion of Mr. Uffel, at Amfterdam, in which pain and agony were fo powerfully and 
 naturally expreffed, and made fo ftrong an impreffion on the imagination of the wife of that 
 gentleman, who happened to be with child when fhe looked at it, that her child, when it 
 was born, had all the fingers diftorted, exactly as the fingers of Ixion appeared in the 
 
 4 K picture j 
 
SPA 
 
 [ 626 ] 
 
 S P I 
 
 picture; and on that account the picture, though very capital in every refpeit, was fent 
 into Italy. The ftrength of his expreflion, and the force of his colouring, which gives 
 extraordinary relief to his figures, make his works univerfally efteemed, and they generally 
 produce large prices, as often as they are to be purchafed. 
 
 In the palace of the Prince della Torre, at Naples, there is a noble picture by Spagno- 
 letto. The fubject is St. Peter and St. Paul, the figures being at half-length, fomewhat 
 larger than life. The heads are extremely fine, and touched firmly, with great fpirit; 
 the hands are well defigned, and the whole is natural and truly beautiful. Another 
 admirable compofition of this mafter is preferved in the Palazzo Corfini, at Florence. It 
 reprefents St. Peter taking the piece of money out of the mouth of the fifli to pay the 
 tribute. The colouring is wonderfully ftriking, and full of force ; the heads of the figures 
 are exceedingly fine; and it it is finiflied in a broad, free, and fpirited manner. 
 
 SPAGNUOLO. Vid. Giuseppe Maria CRESPI. 
 
 N. S P A L T H O F. 
 
 Painted Hi/lory and Animals. 
 
 The time and place of the birth of this, mafter are not mentioned by any writer; but 
 the biographers agree that he was a painter of confiderable credit; that he had fpent 
 feveral years in his ftudies at Rome, and travelled on foot three feveral times to that city. 
 
 His moft ufual fubjecls are Italian markets, filled with a variety of cattle and human 
 figures, and alfo ftalls and (hops, where herbs, roots, ^nd different kinds of vegetables, are 
 expofed to fale; which objects he copied exactly after nature, and gave them a great deal 
 of roundnefs and relief, with a ftrong character of truth. 
 
 H. S P I E R I N G S. 
 
 Painted Landfcape. 
 
 He was a native of Antwerp, born about the year 1633, and proved a good painter of 
 landfcapes, having acquired a great deal of fkill in his profeflion by travelling through 
 Italy and France ; and in the latter he had the honour to be employed by Lewis XIV. for 
 whom he painted feveral landfcapes. His manner of deiigning was agreeable; his trees, 
 and the forms of them, are well chofen; his touch is delicate, and his colouring has the 
 look of nature. His fore-grounds are enriched with a variety of plants, which he copied 
 from nature, and his compofitions have a pleafing and a good effect. 
 
 One of his greateft excellencies was his ability to imitate the ftyle and touch of other 
 famous painters, and in particular of Salvator Rofa; and he had the dexterity often to 
 deceive thofe who deemed themfelves able connoifTeurs, feveral of them having peremptorily 
 pronounced fome of the performances of Spierings to have been the work of Salvator 
 Rofa. 
 
 Albert 
 
S P I 
 
 C 627 j 
 
 5 P I 
 
 Albert Van SPIERS. 
 
 Painted Hijiory. 
 
 DIED 1718, AGED $1. 
 
 He was born at Amfterdam, in 1666, and proved one of the beft difciples in the fchool 
 of William Vanlnghen; under whofe direction he pradtifed till he was qualified to appear 
 with credit in his profeflion. Yet, though he might be confidered as an able artift, he 
 determined to vifit Rome, to form himfelf there after the moft perfect and beautiful 
 models. He examined every production of the great matters that feemed worthy of his 
 attention, but attached himfelf particularly to the works of Raphael, Julio Romano, and 
 Domenichino i and fuch of their compofitions as he could not copy in colour, for want 
 of time or opportunity, he took care to defign with extraordinary correctnefs. 
 
 By that method of conducting his fludies he eftablifhed a good and elegant tafte ; and 
 he then vifited Venice to improve his knowledge of colouring ; for which purpofe he chofe 
 the works of Paolo Veronefe for his guide, and attended alfo carefully to the manner of 
 Carlo Loti. In the year 1697 he returned to his native city, with the character of an 
 accomplifhed painter, and executed a great number of beautiful cielings; alfo feveral 
 very magnificent apartments at Amfterdam were entirely adorned by his pencil. But 
 being influenced by the folicitation of his friends, and probably urged by the profpect of 
 acquiring reputation and riches, he followed his profeflion with too much ardour, and 
 laboured abundantly more than he ought, which impaired his health, and fhortened his 
 days. 
 
 Thofe who were moft capable of judging of the merit of this mafter allowed him to 
 have a fruitful imagination, great correctnefs, and a conftant attention to nature, which 
 he never neglected in any of his compofitions. He followed the tafte of the Roman 
 fchool, and, in refpect of compofition and defign, endeavoured to imitate thofe great men 
 who had formed themfelves in that celebrated fchool ; but it was obferved of him, that he 
 followed them no farther than where they took nature for their guide. 
 
 John SPILBERG. 
 Painted Hijiory and Portrait, 
 
 DIED 169I, AGED 72. 
 
 He was born at Dufleldorp, in 161 9, and at firft was inftructed in the art by his father, 
 who intended to place him under Rubens; but that project being difconcerted by the death 
 of Rubens, he became the difciple of Govaert Flink, at Amfterdam, who at that time 
 was in the higheft efteem. 
 
 He continued in the fchool of that artift for feven years, and afforded fuch proofs of an 
 happy genius, that before he quitted Flink, he diftinguifhed himfelf as an excellent 
 
 4 K 2 painter 
 
S P I 
 
 [ 628 ] 
 
 S P I 
 
 painter of hiftory and portrait. The merit of his performances foon recommended him 
 to the favour of the great, and he was appointed principal painter to the Count Palatine, 
 at whofe Court he painted the portraits of that Prince and his family, which gained him 
 very great applaufe. He was honoured with a medal of gold from the hands of his patron, 
 and received feveral others from different Princes, by whom he was afterwards employed, 
 as marks of their particular efteem. 
 
 The general opinion of the works of this mafter is, that they are well coloured, 
 correctly defigned, and finifhed with a bold, free pencil ; and there are at Duffeldorp 
 feveral noble altar-pieces of his hand, which are evidences of the juftnefs of that character. 
 In the caftle of that city are fiill to be feen the whole Labours of Hercules, with figures 
 as large as life, which is much commended ; and Houbraken alfo mentions, as one of the 
 capital works of Spilberg, an allegorical picture, reprefenting the alliance between Mufic 
 and Poetry, in which the female figures have abundance of elegance, and are grouped 
 with judgment. They are as large as life, and the whole is well defigned, and in a 
 good tafte. 
 
 Adriana SPILBERG. 
 
 Painted Portrait, 
 
 She was the daughter of John Spilberg, born at Amfterdam, in 1646; and fhe learned 
 the principles of painting from her father. Her greateft merit confifted in painting 
 portraits with crayons, though fhe fometimes painted in oil ; and her works were very 
 much efteemed for the neatnefs and delicacy of the handling, and their lively and natural 
 tint of colour. Her eminent abilities occafioned her being invited to the Court of the 
 Electrefs, at Duffeldorp, where fhe received all poffible marks of approbation, refpect, and 
 honour; and fhe afterwards became the wife of the celebrated painter, Eglon Vander Neer. 
 
 SPINELLO Are tin 0. 
 
 Painted Hiftory and Portrait. 
 
 DIED I42O, AGED 0,2. 
 
 He was born at Arezzo, in 1328, and from his infancy cxprefled a furprifing incli- 
 nation to the art of painting; and even without the afliftance of any director, he gave 
 fuch proofs of a lively and ftrong genius, that his early performances were fuperior to 
 thofe produced by perfons of a much more advanced age, who praclifed under able inftructors. 
 But as he grew up he ftudied under Jacopo di Cafentino, and, at the age of twenty years, 
 proved far fuperior to his mafter. 
 
 His uncommon abilities procured him abundance of employment at Florence, as well 
 as in his native city, which extended his fame through all Italy; and he was admired, not 
 only for his ready and fertile invention, but alfo for the manner of difpofing his figures, for 
 
 a certain 
 
S P I 
 
 [ 629 ] 
 
 S.PR 
 
 a certain fimplicity of ftyle, united with elegance, and for a peculiar neatnefs in his finiming-. 
 He had the art of giving a fingular grace to his figures, an air of unaffected modefty ; but 
 to his Madonnas he gave an air that was divine and inexpreffible. 
 
 The compofitions of this matter mewed genius and judgment; and he was allowed 
 equal to Giotto in defign, but to furpafs him in the foice and beauty of his colouring 
 He gained very great applaufe by the portraits of Innocent IV. and Gregory IX. and 
 painted with full as much excellence in frefco as in oil. It was remarked that, in the 
 chapel of St. Maria Maggiore, at Florence, he painted in frefco feveral hiftorical incidents 
 relative to the life of the Virgin, and that the whole work was fo perfectly well executed 
 as to appear as if it had been finifhed in one day, although it had employed him for a 
 number of months. 
 
 He found out an unufual and happy method of mixing his colours, by which means 
 many of his works retained their original luftre for an incredible length of time. 
 
 Paris SPINELLO.. 
 
 Painted Hi/lory and Portrait. 
 
 DIED 1422, AGED 56. 
 
 He was the fon of Spinello Aretino, born at Arezzo, in 1366, and learned the rudi- 
 ments of the art from his father; but as foon as he appeared to have made a competent 
 progrefs, he was placed as a difciple with Lorenzo Ghiberti, at Florence. His principal 
 excellence confided in working in frefco, though he alfo painted in oil and diftemper; and 
 rendered himfelf truly famous by a multitude of compofitions which he executed in the 
 churches, chapels, and convents, in feveral parts of Italy. 
 
 The colouring of this artift was as exquifite as that of his father; and for its luftre, 
 and the beautiful polim which he artfully diffufed over it, was inimitable by any of his 
 cotemporaries. Nor was he lefs admired for the variety and elegance of the attitudes of 
 his figures, than for the force and fine effect of his paintings. 
 
 He feemed naturally of a folitaryand melancholy difpofition, and, to the prejudice of his 
 health, too indifcreetly indulged that turn of mind; fo that having an invincible love to his 
 profeflion, an ambition to excel in it, and too fevere an application to the laborious part", 
 he contracted a diftemper which mortened his life, and he was buried in the fame tomb 
 With his father.. 
 
 Bartholomew SPRANG'HER. 
 Painted Portrait and Land/cape. 
 
 DIED 1623, AGED 77. 
 
 He was born at Antwerp, in 1546, and fucceilively inftructed by John Madyn, Moftaert, ■ 
 Van Dalen, and a variety of other mailers, in his own country, at Paris, at Milan, and at 
 Parma ; and in the latter city he worked for three years with Bernardo Soiaro, who had 
 5 been 
 
S P R 
 
 C 630 3 
 
 S Q.U 
 
 been a difciple of the incomparable Correggio. He went afterwards to Rome, and found 
 a protector and patron in the Cardinal Farnefe ; who not only, employed him in his palace 
 of Caprarola, but recommended him to the Pope, Pius V. who engaged him in his fervice 
 at the Belvedere. There he fpent *two years and ten months in painting a Laft Judgment, 
 on a plate of copper, fix feet high (according to Sandrart), which contained five hundred 
 heads ; and was lb highly valued, that after the death of Pius it was placed over his 
 monument, as a principal ornament. 
 
 From Rome he entered into the fervice of the Emperors Maximilian and Rudolphus II. 
 by whom he was exceedingly carefTed and honoured; and in 1588 Rudolph ennobled him 
 and his descendants, and, in the prefence of the whole Court, placed a chain of gold; 
 confirming of three rows, round the neck of the artift, and ordered him to wear it as long 
 as he lived. 
 
 He painted in large as well as finall ; and at Vienna finifhed feveral grand altar-pieces, 
 with figures nearly as large »as life, and alfo a number of eafel pictures for the Imperial 
 palaces. He received but little improvement at Rome, by neglecting to defign after the 
 antiques, by trufting too much to his memory, and by the want of fufHcient judgment to 
 guide and direct his genius. He had indeed an extraordinary lightnefs of hand, and great 
 Iweetnefs of pencil, which always procured him admirers ; but he never could be induced 
 to ftudy after nature, and .only worked by the afliftance of imagination. His defigns 
 therefore mewed nothing of the Roman tafte; the contours of his figures appear con- 
 ftrained and unnatural; and his outline, inftead of partaking of the Roman fchool, is hard, 
 ftifF, and ungraceful. In moft of his attitudes there is an air of affectation, which muft 
 be difguftful to a judicious eye; and the extremities of his figures are ufually fo contorted 
 and extravagant, that he is with great juftice accounted a mannerift. However, he had 
 in other refpects confiderable merit ; his works Ihew a free pencil, and abundance of 
 fpirit ; and in thofe of his latter time are to be feen a more natural tone of colour, and 
 fewer extravagancies. As he worked moftly for the Emperors, for Princes, and the prime 
 Nobility of Germany, his works are not frequently to be purchafed ; for his circum- 
 ftances were fo affluent, that he painted only for thofe who folicited him for his work, and 
 he finifhed all his pictures entirely with his own hand, having never employed any 
 afiiftant. 
 
 Francesco SQUARCIONE. 
 
 Painted Hijiory. 
 
 DIED I474, AGED 8b. 
 
 He was born in 1394, and became a painter of eminence, by forming his tafte on the 
 ftudy of the moft beautiful antiques. But, notwithftanding his being perpetually employed, 
 
 and 
 
 * Defcamps fays he finifhed that work in fourteen months, which feems to be a miflake j for Sandrart allures us, 
 that he fpent two years and ten months on that performance. 
 
4 
 
 STA f 631 J ST A 
 
 and highly efteemed at Florence, and other cities of Italy, yet, out of a defire to cultivate 
 the art of painting in the moft effectual manner, he quitted all the advantages of his pro- 
 feffion, and travelled through Greece, to make defigns after the fineft models in ftatuary, 
 fculpture, or architecture. 
 
 Thofe drawings and defigns he brought back to Italy, and opened a fchool for painting, 
 which immediately role into the higheft reputation ; and it was remarked, that at one time 
 he had an hundred and thirty-feven difciples under his direction ; from which circumftance, 
 added to his laborious zeal in promoting the knowledge and love of the art, he was called 
 the Father of the Painters. 
 
 He pofTefled a great number of bas-reliefs, paintings, and defigns, which ferved as 
 inftructors to his difciples j and he was fo generally refpected, that he was honoured with 
 the vifits of Emperors, Popes, Cardinals, and the Nobility of the firft rank. 
 
 Henry STABEN. 
 Painted Perfpeclive, Hi/lory, and Still Life. 
 
 DIED 1658, AGED 80. 
 
 He was born in Flanders, in 1578, where he learned the firft principles of the art; but 
 after he had made a tolerable proficiency in his own country, he travelled to Venice, and 
 placed himfelf. as a difciple with Tintoretto ; but the death of that great painter, which 
 happened when Staben was not above fixteen years of age, deprived him of many advan- 
 tages, which he might have gained under fo famous a mafter. 
 
 He painted in a fmall fize with aftoniftiing neatnefs, and in his compofitions mewed 
 a commendable invention ; and, making a proper allowance for his Flemifli gufto, his 
 manner of defigning was agreeable, and the difpofition of his figures judicious. 
 
 At Paris there is a picture by this mafter, which is preferved with extraordinary care, 
 and is exceedingly admired. The fubjedt is the Gallery of a Virtuofo, in which are ' 
 placed cabinets, and other curious pieces of ornamental furniture. Above thofe, feveral 
 pictures, of different fubjedts, are ranged in regular order; and every object: is exquifitely 
 finifhed, and placed in fuch exact perfpective, that they afford the eye a moft agreeable 
 deception. Every part of thofe fmall pictures, which are fuppofed to be the decorations 
 of that gallery, appear fo diftinct, with tints fo aptly proportioned to* their fituations and 
 diftances, and the whole is executed with fo delicate a touch, and fo much judgment, that 
 the performance is accounted truly admirable. 
 
 Palamedes Palamedesz STAEVARTS, or Stevers. 
 
 Painted Battles-) Fairs y and Encampments. 
 
 DIED 1638, AGED 31. 
 
 This artift was born at London, in 1607, though he is reckoned among the eminent 
 painters of the city of Delft. His father, who was a Fleming, and efteemed an excellent 
 2 , workman 
 
i 
 
 S T A [ 632 ] S T A 
 
 ■workman in agate, jafper, and other precious materials, being invited to England by 
 King James I. refided at London for fome years, in which time his fon Palamedefz was 
 born, but was carried to Delft while he was yet a child, when his father returned to his 
 native country. 
 
 He did not ftudy the art of painting under any particular mafter; but, by the force of a 
 ftrong natural genius, and needfully attending to the works of Efaias Vander Velde, he 
 acquired a ftyle of painting, and a tone of colour, much refembling his model ; but in 
 the execution and finiming of his pictures, he was by good judges accounted far 
 fuperior j and by the beft connoifleurs of his time his works were held in the greater!: 
 efteem. 
 
 He excelled in reprefenting encampments with the futlers booths, and alfo in defcribing 
 battles of horfe and foot ; the fcenes and fituations which he chofe were agreeably 
 contrived, and he had a very happy manner of expreffing the ardour of thofe who were 
 engaged, the exultation of the victors, and the dejection of the vanquilhed, the daftards, 
 and the dying. Yet his figures were defigned entirely in the Flemiih tafte, and their 
 habits and drefs were taken from thofe of his own time. 
 
 His compofitions are always full of fpirit, and well difpofedj in every obj ect nature is 
 well imitated and truly reprefented ; the perfpedtive diftances are juftly obferved, and his 
 figures truly proportioned, according as they are near or remote. His fkies are clear ; 
 his pencil is free, yet particularly neat; and his pictures are diftinguifhed by a remarkable 
 thinnefs and tranfparence of his colouring. 
 
 He arrived very early at excellence in his profeflionj and as he was cut off juft in the 
 bloom of life, his pictures are few, and exceedingly fcarce; and on that account, as well 
 as on account of their confefled merit, they are much coveted, and bring large prices. 
 
 Anthony Palamedes STAEV ARTS, or Stevers. 
 Painted Converfations and Portraits. 
 
 DIED l68o, AGED 76. 
 
 He was the elder brother of Palamedefz, born at Delft, in 1604, and became a painter 
 of fome note ; but he was very far inferior to his brother in every part of painting, being 
 neither poffefled of fo delicate a pencil, fuch tranfparence of colouring, fuch invention, 
 difpofition, or expreflion. He took pains to imitate nature, but without elegance of 
 choice; and the figures which he introduced were formal copies of what had occurred 
 to his obfervation ; without any thing graceful in the airs of their heads, or in their 
 attitudes; and his draperies were only plain, dry reprefentations of the modes of his 
 time. 
 
 Though he frequently painted portraits, yet his general fubjects were converfations of 
 pcrfons of both fexes ; as as if they were engaged at cards, or at entertainments of vocal 
 
 and 
 
STA [ 633 ] STA 
 
 and inftrumental mufic, or at feafts or dances. Of thofe kinds he painted a prodigious 
 number, which are but in fmall efteem j though fome of them are : much better finifhed 
 than others. But it has been thought that the reputation of his brother's works 
 conduced not a little to the recommendation of his own, as they were often bought by 
 injudicious purchafers for thofe of Palamedefz, which are defervedly valuable. 
 
 Adrian STALBEMT. 
 
 Painted Landscape. 
 
 DIED l660, AGED 80. 
 
 He was born at Antwerp, in 1580, and is placed in the firft rank among the Flemifh. 
 painters. His ftyle was landfcape with fmall figures, which he executed neatly, with a 
 free and fpirited touch, in imitation of the Velvet Brueghel, whofe manner he carefully 
 ftudied, and made the works of that delicate mafter entirely his model. His fcenes were 
 pleafingly chofen, and frequently folemn ; his figures are properly introduced, and his 
 trees are well formed, with great appearance of nature and truth, except that fometimes 
 they might feem a little too green. 
 
 ^His reputation was fo efFeclually eftablifhed at Antwerp, that many of his pictures were 
 fent to different parts of Europe; and his merit procured him an invitation to the Court 
 of Great Britain, where his paintings received the approbation of the beft judges of that 
 time ; and even to this day they are mentioned with honour. 
 
 When he quitted England, he returned to his native city, where he continued to follow 
 his profeflion in the eightieth year of his age. But thofe pictures which he painted 
 towards his decline, are not comparable to thofe which were finifhed in the vigorous 
 time of his life, though they have ftill a fufficient degree of merit to maintain the credit 
 of the artift. Among a variety of fubjects and views after nature, which he painted 
 in England, the view of Greenwich was accounted a capital performance, and was 
 exceedingly admired. 
 
 Francis STA M PART. 
 Painted Portrait. 
 
 DIED I75O, AGED 75. 
 
 He was born at Antwerp, in 1675, and it is faid that he derived his knowledge of 
 the art of painting from TyfTens. He was induced to praclife portrait-painting, by 
 having had fome degree of fuccefs in that branch ; but a much mere prevalent inducement 
 was the profpect of gain. At firft he made Vandyck and De Vos his models ; but what 
 he afterwards painted was after nature. 
 
 While he was yet a young man, he was invited to Vienna by the Emperor, who 
 honoured him with the title of his cabinet painter ; and his obtaining an employment of 
 
 4 L fuch 
 
S T A 
 
 [ 634 3 
 
 S T E 
 
 fuch diftindtion, at a Court where ufually there were many confiderable artifts, fhould 
 feem a fufHcient proof of his merit. 
 
 He contrived a method of painting, in an eafy and expeditious manner, the portraits 
 of the Nobility, who have neither leifure nor patience to fit to a painter for a fufficient 
 length of time. He therefore only marked the features with white, black, and red 
 crayons, which was foon executed, and then, at his own leifure, worked on the portrait 
 with colour, and only at the laft finifliing touched up the features after nature. 
 
 Thofe connoifleurs who have feen the works of Stampart, are profufe in his commen- 
 dation j and an artift of credit and fkill teftifies, that it was the cuftom of that painter to 
 lay upon his canvas a quantity of flefti colour, in proper places, before he ever began to 
 work, which contributed at once to leffen his labour, and to produce a much better effedh 
 
 Gherardo STARNINA. 
 
 Painted Hi/lory^. 
 
 DIED I403, AGED 49* 
 
 He was born at Florence, in 1 354, and was the difciple of Antonio Venetiano, with 
 whom he ftudied defign and colouring. He was indebted to nature for an excellent genius, 
 and he took pains to cultivate that genius by inceflant application. When he quitted the 
 fchool of Venetiano, the firft works in which he was employed were fo highly admired, 
 for the elegance of his manner, that his reputation was very foon and very firmly 
 eftablifhedj and his great abilities being made known to the King of Spain, that Monarch 
 invited him to his Court, engaged him in feveral grand defigns, and loaded him with 
 prefents; fo that Stamina, fome years after, returned to his own country, enriched and 
 honoured. 
 
 Among a great number of his compofitions which are at Florence, one is particularly 
 mentioned as an accompli fhed performance. The fubjecl: is St. Jerom addrefling himfelf 
 to his companions when he is near dying ; and the artift has reprefented fome of them 
 writing down his laft precepts, fome attentively liftening to his difcourfe, and fome 
 expreffing the effecT: produced in their hearts by the dodtrines he uttered. In that compo- 
 fition the figures were well defigned and contrafted ; they had animated looks, and proper 
 attitudes; and the whole together was efteemed fuperior to any of the works of his 
 predeceflbrs. 
 
 Jan STEEN. 
 
 Painted Converfations and Drolls* 
 *DIED 1689, AGED 53. 
 
 He was born at Leyden, in 1636, and was fucceffively the difciple of Knufter, Brouwer, 
 and Van Goyenj but he made himfelf fo acceptable to the latter by his wit, his droll 
 
 difpofitioiij 
 
 * Houbraken fixes his death in 1678, aged 42, eleven years earlier than other writers. 
 
S T E 
 
 [ 6 3S ] 
 
 S T E 
 
 difpofttion, and above all by the livelinefs of his genius, that Van Goyen thought he 
 difpofed of his daughter prudently when he gave her in marriage to Jan Steen. However, 
 although he had many opportunities of enriching himfelf, by other occupations as well as 
 by his profeflion, he frequently was reduced, by an idle, intemperate anddiflipated courfe 
 of life, even to the loweft ebb, and compelled to work for the fubfiftence of himfelf and 
 his family. 
 
 . In the fubjects he painted, his genius appeared admirable; and, notwithftanding all 
 the (kill he had acquired from his different matters, his genius was his principal 
 director; for he feemed rather to derive his powers in painting from infpiration than 
 inftruction. Few painters have animated their figures more than Jan Steen, or equalled 
 him in the ftrength of expreflion. His drawing might fometimes be cenfurable; but 
 his defign was generally correct, his figures well difpofed, and his characters ftrongly 
 marked. His touch is light, eafy, and free, and his colouring appears always lively 
 and natural. 
 
 A capital picture of Jan Steen's painting, is a Mountebank attended by a number of 
 fpectators, in which the countenances are wonderfully ftriking, as being full of humour, 
 and uncommon variety. Houbraken mentions a remarkable picture painted by this 
 mafter, reprefenting a wedding. It confuted of the old parents, the bride, the bridegroom, 
 and a lawyer or notary. Every perfon in the compofition was exceedingly natural, with 
 furprifing expreflion in the old, as well as the young. The notary is defcribed as if he 
 was thoroughly engaged in attending to the words which he was to write down; the 
 bridegroom appears in a violent agitation, as if diffatisfied with the match; and the 
 bride feems to be in tears ; , every character evidencing the ready and humorous invention 
 of the artift. Houbraken alfo mentions another compofition, equally excellent, reprefenting 
 the Funeral of a Quaker; in which each face is diftinguifhed by fo ftrong, fo droll, and fo 
 humorous a caft of features, that it excites mirth in every beholder ; and would convince 
 us that he had nature for the model of every object, the whole feeming fo accurately 
 defigned, and with fueh an air of nature and probability. 
 
 In defigning his figures he mewed remarkable judgment and fk.il! j for, at the firft 
 fight, one may perceive a proper diftinction of the ranks and conditions of the perfons 
 introduced in his fubject, the difference between a gentleman and a boor, or of thofe in 
 high or low ftations, by their forms, their attitudes, their air or expreflion ; fo that in this 
 refpect he appears worthy of being ftudied by other painters. His works did not bear an 
 extraordinary price during his life, as he painted only when he was neceflitous, and fold 
 his pictures to anfwer his immediate demands. But after his death they rofe amazingly 
 in their value, and are rarely to be purchafed, few paintings bearing a higher price, as 
 well on account of their excellence as of their fcarcity. 
 
 Giovanni 
 
S T E 
 
 [ 636 J < 
 
 S T E 
 
 Giovanni Battista STEFANESCHI, called Eremita di Monte Senario.. 
 
 Painted Hljiory. 
 
 DIED 1659, AGED 77. 
 
 He was born at Florence, in 1582, and even in his youth gave early tokens of a good 
 and apt genius ; and was afterwards encouraged by his friend Andrea Commodi, to apply 
 himfelf to the ftudy of the art of painting. Andrea took him under his own care, pointed 
 out to him the beft rules for his improvement, and made him fo thoroughly acquainted 
 with the true principles of his art, that "in a fhort time he rendered himfelf very consi- 
 derable, by the corredlnefs of his defign, and a beautiful lively tone of colouring. He 
 alfo acquired an additional degree of knowledge from the inftructions of Ligozzi and 
 Pietro da Cortona , and became an excellent painter in oil and in miniature. 
 
 Ferdinand II. Duke of Tufcany, held him in great efteem; and for that Prince he 
 painted feveral hiftorical facred fubjecls in miniature; four of which were of a larger 
 iize than ufual, and of exquifite beauty, being painted after four capital originals of. 
 Raphael, Correggio, Titian, and Andrea del Sarto. The figures of Stefanefchi were 
 exceedingly graceful and lovely; his ftyle was grand, his touch delicate; and the chiaro-f- 
 fcuro was happily and judicioufly managed. 
 
 S T E F A N O, called Florentino. 
 
 Painted Hi/lory , Architecture^ and Perfpeclive... 
 
 DIED I35O, AGED 49. 
 
 He was born at Florence, in 1301, where he became the difciple of Giotto, and painted 
 principally in frefco. He was accounted fuperior to any artift of his time, except his 
 mafter, and allowed to be fomewhat fuperior even to him in colouring and defign. 
 
 Stefano had a ready and fine invention, was rich in his compofition; defigned his figures 
 with proper and becoming attitudes ; gave to the countenances and heads graceful airs, 
 and good expreflion ; and made his draperies appear loofe, eafy, and delicate. He was the 
 firfi who attempted to mew the naked under the draperies, and the firft who reduced the 
 practice of perfpedtive to a more regular method than had been obferyed by any of his 
 predecefibrs. 
 
 He received the greateft imaginable applaufe for a painting in perfpedtive, which furprifed 
 every beholder ; as the principles of perfpedtive were at that time very little known or 
 underftood. The fubjecl: of the picture was, Chrift delivering a Demoniac from -his 
 tormentor. The fcene of the tranfaction was reprefented as in a magnificent building ; 
 and the grandeur of 'the edifices, the elegant form and juft proportion of the columns and 
 other parts of the architecture, the perfect deception to the eye, and the grand effect of 
 , 2 the 
 
S T E 
 
 r 6 37 ] 
 
 S T E 
 
 the whole, fhewed fuch a tafte, (kill, and invention, as weil as judgment, that it was 
 confidered as an inimitable performance. 
 
 Many of the works of this mafter are preferved in Florence, Piftoia, and Perufia; and 
 fome of them ftand in competition with thofe of his mafter Giotto. 
 
 J a c qjj e s STELLA, Chevalier. 
 Painted Hijiory^ Portrait^ Landfcape^ and Architecture, 
 
 *DIED 1647, AGED 51. 
 
 He was born at Lyons, in 1596 ; and his father being a painter, inftructed him carefully 
 in his art, as foon as he found him capable of learning to draw. Jacques had arrived only 
 at his ninth year, when he had the misfortune to be deprived of his father j but even at 
 that early age he could defign well, and afforded an expectation of his future merit. 
 
 In his twentieth year he travelled to Italy, with an intention to complete his ftudies at 
 Rome; but paffing through Florence, he was engaged by Cofmo de Medicis, the Grand 
 Duke, and continued in his fervice for feven years. He then proceeded to Rome, where 
 he ftudied the antiques, the works of Raphael, and the compofitions of other great 
 mafters, with fuch fuccefs, that he obtained an excellent tafte of defign, and performed 
 works, in large as well as in fmall, which effectually eftabiifhed his reputation. 
 
 As he had received repeated invitations to the Court of Spain, he determined at laft to 
 vifit that kingdom ; but travelling through France in his progrefs, he could not refift the 
 folicitations of Cardinal Richelieu, who recommended him to the King, and procured him 
 a penfion of a thoufand livres, together with the employment of ftate painter, and an 
 apartment in the Louvre ; and befide all thofe advantages, the order of St. Michael was 
 conferred upon him, as a particular mark of the King's favour. 
 
 This mafter had an extenfive genius; and though hiftory engaged his attention princi- 
 pally, yet he painted all kinds of fubjecls with equal readinefs and eafe. His invention 
 is noble, his attitudes are natural, and his outline is correct:; but his expreflion is not 
 ftrik ing, nor are his local colours fufliciently determined ; his carnations are rather too 
 red, and generally the fame kind of tint predominates through them all ; though his 
 pictures, taking the whole together, are very agreeable. The fubjects which. he painted 
 beft are of the paftoral kind ; however, he fhewed great excellence in painting boys, 
 perfpective, and architecture; yet by the ableft judges he is accounted a.mannerift. 
 
 F r an cis STELLA. 
 Painted Hijlory. 
 
 I 
 
 DIED 1 66 1, AGED 60. 
 
 He was the brother and difciple of Jacques Stella, born at Lyons, in 1601. He 
 travelled with his brother to Italy, lived with him during his refidence at Florence, and 
 
 afterwards 
 
 1 * De Piles and the Chronological Tables agree that Stella died at the age of 51, in 1647; but the autbori of the • 
 Ab/ege de la Vie des Peintres fix his death in 1657, at ihe age of 61, miking a difference of ten years. 
 
 ( 
 
afterwards went along with him to Rome ; but as he did not poffefs fuch a genius as 
 Jacques, he never could equal him in any branch of his profeffion. 
 
 Orlandi, in the Abecedario Pittorico, is guilty of a great error, in afcribing to this 
 matter the character, the age, and the merit of Jacques Stella, referring to De Piles for 
 his authority, whereas there appears nothing in De Piles any way referable to Francis 
 Stella. 
 
 Henry STENWYCK, or STEENWYCK, the Old. 
 
 Painted PerfpeSlive and Architecture* 
 
 DIED 1603, AGED 5.3. 
 
 He was born at Steenwyck, in 1 550, and was the difciple of John de Vries, who 
 excelled in painting architecture and perfpective. In imitation of the ftyle of his matter 
 Stenwyck chofe thofe kind of fubjects; but furpafled him and all his cotemporaries, in 
 the truth, neatnefs, tranfparence, and delicacy of his pictures. His fubjects were the 
 infides of fuperb churches and convents, of Gothic architecture, and generally views of 
 them by night, when they were illuminated by flambeaux, tapers, or a number of candles 
 fixed in magnificent luftres, or fconces. 
 
 He was a thorough matter of the true principles of the chiaro-fcuro, and diftributed 
 his lights and fhadows with fuch judgment, as to produce the moft aftonifhing effects. 
 The reflections of his lights are charming ; and every column, cornice, or other member 
 of his Gothic architecture, is painted with the utmoft truth and precifion. His pencil 
 is wonderfully delicate, his touch light and fliarp ; and as he was not expert at defigning 
 "figures, thofe that appear in any of his compofitions were inferted by Brueghel, Van 
 Tulden, and other eminent artifts. 
 
 The genuine pictures of this matter are extremely fcarce, and very highly prized in 
 every part of Europe. 
 
 *Henry STENWYCK, or STEENWYCK, the Young. 
 
 . Painted PerfpeSlive and Portraits. 
 
 He was born about 1589, and was the fon of the famous Henry Stenwyck, by whom 
 he was taught the art of paintings and, by ftudying the works of his father from his 
 infancy, and alio receiving excellent directions from him, he adopted the fame manner 
 and ftyle j and, by fome very competent judges, was thought to have often equalled, if 
 not furpafled his father. 
 
 Vandyck, 
 
 * The authors of the Abrege de la Vie desPeintres call the fon of Henry Stenwyck, Nicholas, though Defcamps 
 . and moft writers affirm, that the name of the younger Stenwyck, who refided in London, and was favoured by Charles I. 
 and Vandyck, was undoubtedly Henry. There was a painter at Breda, of the name of Stenwyck, who is by fome 
 called Nicholas, and probably thofe authors have miftaken the one for the other; but the fubjects painted by the latter, 
 ■were emblems of mortality and ftill life, whereas Henry Stenwyck painted no fubjefts but of perfpective and architecture. 
 
 5 
 
S T E 
 
 C 639 ] 
 
 S T O 
 
 Vandyck, who admired his v/orks, introduced him to the Court of King Charles L 
 where he met with fuch a degree of encouragement as was due to his extraordinary talents, 
 and found" employment in England for feveral years. His ufual fubjects were the infides 
 of churches and grand edifices; but at laft he quitted the dark manner, which he had 
 originally acquired by imitating the manner of his father. He fometimes painted the 
 back-grounds of Vandyck's portraits, as often as they required ornamental architecture ; 
 and it is the portrait of the younger Stenwyck which was painted by Vandyck, and 
 perpetuated by his hand among the diftinguifhed artifts of his time. 
 
 He died at London; and his widow, who practifed perfpective-painting during the life 
 of her hufband, retired after his death to Amfterdam, where fhe followed that profeflion, 
 and painted in the ftyle of her hufband and his father with great credit ; and as her works 
 were generally efteemed, flie was enabled to live in affluence and honour. 
 
 Nicholas de Helt STOCCADE. 
 
 Painted Hijiory and Portrait. 
 
 He was born at Nimeguen, in 1614; and having the advantage of a near alliance to 
 David Ryccaert the old, who was his father-in-law, he became his difciple, and was 
 inftructed by him with extraordinary care. But as foon as he imagined himfelf capable 
 of fublifting by his own induftry, and by the knowledge he had already acquired, he 
 travelled firft to Rome to improve himfelf in defign, and went afterwards to Venice, to 
 ftudy that excellence of colouring for which the artifts of the Venetian fchool are fo 
 particularly eminent. 
 
 In his return' to his own country he vifited France, where his works received great 
 approbation, and he was appointed painter to the French King. Moft of the paintings 
 of this mafter are preferved in Venice and Rome, as he refided for a long time in thofe 
 cities ; and few of them are to be met with in our kingdoms, though they are very 
 much prized. 
 
 The hiftorical pictures which he painted are of a large fize, and his figures are - 
 defigned in a good tafte. He had a broad and free manner of penciling, with a remarkable 
 fweetnefs of colour, and fhewed an ingenious Angularity in exprefling the actions and 
 paflions of his hiftorical characters, in a manner very different from other defigners. 
 For inftance, while, in the ftory of Andromeda, many other painters reprefented her as 
 almoft dying with fear and terror, on her apprehenfion of her danger from the monfter, 
 this artift defcribed her in modeft confullon, as blufhing more from the confcioufnefs of 
 her being expoled naked, than terrified at all the horrors with which fhe was threatened. 
 That picture, and thofe of Clelia, and Jofeph diftributing the corn in Egypt, are exceed- 
 ingly admired, and were highly celebrated by the beft poets of the Low Countries. 
 
 Abraham 
 
S T O 
 
 r 6 4 o ] 
 
 Abraham STORK. 
 
 S T R 
 
 Painted Sea-Pieces and Sea-ports. 
 
 DIED I708. 
 
 He was born at Amfterdam ; but the matter from whom he learned the art is not 
 mentioned. He ftudied afliduoufly after nature, and fketched every vefTel and every view, 
 which he intended to introduce in any of his compofitions ; by which means his feas, rocks, 
 havens, and mips, have a ftrong character of truth to recommend them. 
 
 His ufual fubjecls are, the reprefentation of veflels at fea, in calms or ftorms, or riding 
 at anchor in "havens; alfo views of fea-ports, with a great variety of boats, barges, and 
 (hips, with a great number of figures, occupied in different employments, lading or unlading 
 the veflels. His colouring is pleafing, his touch full of fpirit, and his pencil clean, neat, 
 and delicate. His figures, though fmall, are defigned with a correct exa&nefs; and his 
 compofitions are generally filled with fuch a number of them, as at once furprifes and 
 entertains the obferver. 
 
 A moft capital picture of this matter, is the reception of the Duke of Marlborough in 
 the river Amftelj in which he has reprefented an inconceivable number of veflels, barges, 
 and yachts, fuperbly decorated, and crowded with figures in a variety of habits, adapted to 
 their different dignities, ranks and conditions. And although the compofition is immenfe, 
 yet it is difpofed without any confufion, and every part of it is very neatly handled, and 
 delicately finifhed. 
 
 He had a brother who was a landfcape-painter, and for the moft part painted views of 
 the Rhine ; but he did.not arrive at the excellence of Abraham. * 
 
 John STRADA, or STRADANUS. 
 
 Painted Hi/iony, Animals, Battles, and Cbaces.. 
 
 *DIED 1604, AGED 68. 
 
 He was born at Bruges, in 1536, of an illuftrious family, and in that city ftudied the 
 firft principles of painting ; but, to complete his knowledge, he went very young to Italy, 
 and for fome time found employment at Florence, in the palace of the Duke, and alfo in 
 the palaces of fome of the Nobility. From thence he proceeded -to Rome, where he 
 exerted his utmoft induftry to ftudy the antiques, the works of Raphael and Buonaroti, 
 which gave him a much better tafte of compofition and correctnefs, and enabled him to 
 appear as one of the eminent artifts of his time. Before he quitted Rome, he painted in 
 
 conjunction 
 
 * De Piles, and Refta, fix the birth of Stradanus in 1527, and his death in 1604, aged 77 ; yet Sandrart, and other 
 writers, fix his birf-ii in 1536, and his death in 1604, aged 68. But the authors of the Abrege de la Vie des Peintres, 
 though they appear to be perfons of talte and judgment, have unaccountably affirmed that Stradanjas was fourl'core and two 
 years old at his death, although they fix his birth in 1536, and his death in 1605, which dates can only allow him to be 
 69. Vid. Abrege, &c, Vol. II. p. j 13. 
 
STR [ 641 ] STR 
 
 conj unction with two celebrated mafters, Daniel da Volterra, and Francefco Salviati, at 
 the Pope's Palace of Belvedere, and acquired a great deal of the manner of Salviati. 
 
 Although he was invited to Naples, and other cities of Italy, where he finiftied a great 
 many confiderable works in frefco and in oil, yet he fixed his refidence at Florence ; and 
 in that city are ftill to be feen fome noble performances of Stradanus, which will perpetuate 
 his reputation. In particular, a painting reprefenting the Crucifixion of Chrift between 
 the thieves; which is a grand and fine compofition, confiding of a number of figures of 
 foot foldiers and horfemen, all of them rather larger than life j and around the Crofs are 
 the Virgin, St. John, and Mary Magdalen. 
 
 Befides the fubjects taken from facred hiftory, which he was frequently engaged to 
 undertake, he delighted to paint animals, huntings of the wild boar, and fometimes battles, 
 all which fubjects he executed in a noble ftyle, with a ready hand, and firm pencil. But, 
 notwithftanding his long refidence in Italy, and his ardent ftudies after the antiques and 
 famous painters of Rome, he always retained too much of the Flemifli tafte, nor could he 
 ever totally diveft himfelf of it. 
 
 Stradanus however had a good tafte of defign, and an agreeable tone of colouring ; and" 
 thofe works of his which are in the palace of Belvedere at Rome, maintain their credit, 
 although they are placed among the paintings of Salviati and Volterra. 
 
 Jurian Van STREEK. 
 Painted Portraits and Still Life, 
 
 DIED 1678, AGED 46. 
 
 He was born at Amfterdam, in 1632 j and thofe objects of ftill life which he chofe for 
 his fubjects, were painted by him in a very agreeable manner. He carefully ftudied and 
 imitated nature in all his compofitions, and he grouped his objects with fo much judgment, 
 that they harmonized very pleafingly together. He underftood the chiaro-fcuro thoroughly, 
 and by that means gave his pictures great force, relief, and true refemblance of nature. 
 
 He fometimes painted portraits, which were well efteemed ; and had a free, firm pencil,, 
 as alfo great truth in his colouring, 
 
 Henry Van STREEK. 
 Painted Hijlory and Architecture. 
 
 DIED I7I3, AGED 54. 
 
 He was the fon of Jurian Van Streek, born at Amfterdam in 1659, and at firft was 
 inftructed by his father, till he was a tolerable proficient j but afterwards he was placed 
 as a difciple with Emanuel de Wit. 
 
 Under the direction of that mafter he ftudied for feveral years, and aflumed his manner 
 and ftyle of colouring j yet his inclination led him principally to paint architecture; and he 
 
 4 M ^ gained 
 
■ * ft 
 
 S T R [ 642 J S TR 
 
 gained confiderable reputation by his performances in that ftyle, which were ufually views 
 of the infides of churches, convents, palaces, town-halls, and other grand buildings, in 
 which his perfpedtive was regular and true, and the imitation very exact. 
 
 N. Vander STRETEN, or STRAETEN. 
 
 Painted Landfcape. 
 
 He was born in Holland, in 1680, and had an extraordinary genius, with a very lively 
 imagination j by which he made a remarkable progrefs in the art of painting, at an early 
 time o"f life. Nature was his principal ftudy; and by diligent practice he acquired an 
 uncommon freedom of hand j and, at his firft fetting out in his profeflion, was qualified to 
 make a confiderable figure among the beft landfcape-painters of his time. 
 
 He fhewed abundance of merit in his drawings after nature with black and red chalk j 
 but bis inordinate love of aflociating with a fet of gay diffolute companions, deprived him 
 of his fortune and reputation, and deftroyed thofe talents which, if they had been properly 
 cultivated, might have procured him affluence, honour, and efteem. 
 
 He vifited London, as it feemed the moft certain place in Europe for an artift to meet 
 with encouragement, and he had the good fortune to find his work fo much coveted, that 
 he could fcarce execute the quantity that was befpoke} and his pictures had, at that-time, 
 fuch real merit, as juftified the eager defire of the public to poflefs fome of his perfor- 
 mances. But the affluence which he for fome time enjoyed, ferved only to give him 
 a ftronger appetite to his predominant pleafures ; and wherever he could procure a flatterer 
 to feed his vanity, he wafted his fubftance to entertain him. 
 
 So abandoned a courfe of life as he conftantly indulged, impaired his abilities j and 
 although he Ihewed the fame freedom of hand, he had neither the fame judgment, nor the 
 fame force. He painted ten pictures in one day, and each of them full of agreeable 
 variety, with views of mountains, forefts, water-falls, and other pleafing incidents j and 
 thofe pictures were fixed up in taverns, where he too frequently confumed his time and 
 his fortune ; yet, even in fuch a place, they excited the curiofity of many connoifieurs, who 
 reforted thither to fee them. However, his early productions are far fuperior to thofe of 
 his latter time, and it is from thofe only that his character, or power as a painter, ought 
 to be eftimated. 
 
 * Peter STRUDEL. 
 Painted Hi/lory. 
 
 DIED I717, AGED 37. 
 
 He was born in the Tirolefe, in 1680, and went early to Venice, where he had the 
 happinefs of being admitted a difciple of Carlo Loti, by whofe excellent precepts and 
 example he very foon ftiewed himfelf fuperior to thofe who were trained up in the fame 
 
 fchool ' 3 
 
S T R [ 643 ] S T U 
 
 fchool ; and, al well by his (kill, as by the readinefs of his execution, obtained particular 
 marks of regard. 
 
 By the Emperor Leopold he was invited to Vienna, and employed to adorn the palaces 
 of that Monarch, where he finifhed feveral very grand compofitions, fo much to the 
 fatisfa&ion of the Emperor and his whole Court, that, as an acknowledgment of his merit, 
 he was honoured with the title of a Baron. Many of the churches and convents of 
 Germany are adorned by his paintings ; and, when the fhortnefs of his life is confidered, 
 it might appear amazing to think what a number of large works were finifhed by 
 his hand. 
 
 His compofitions fhewed genius, and good invention} and alfo an original tafte and 
 fpirit, not indebted to others for any part of his defign. He ftudied "nature with accuracy 
 and judgment, and the effect of that ftudy appears in the truth of all his performances. 
 His colouring is ftrong, his defign correct; and he had a manner in his painting boys, that 
 was peculiarly graceful, expreffing very artfully the plumpnefs and pliancy of the limbs at 
 their age, and always giving them a natural and agreeable colour. 
 
 STUDIO. Vid. Hendrick Van Lint. 
 
 Ernest STUVEN. 
 Painted Fruity Flowers-, and Portraits. 
 
 DIED 17 12, AGED 55. 
 
 He was born at Hamburgh, in 1657, and was taught the rudiments of the art by one Hins, 
 a painter in that city j but at the age of eighteen he went to Amfterdam, and fpent fome 
 time under the direction of John Voorhout, and William Van Aalft. 
 
 As he had obferved that portrait-painting was a moft profitable branch of his profeffion, 
 he applied himfelf to it induftrioufly ; yet was he foon difcouraged, as he perceived his pencil 
 (as well as his genius) was better adapted to the painting of fruit and flowers, and therefore 
 he placed himfelf as a difciple with Abraham Mignon. His works foon recommended him 
 to the favour of the public, and he was confidered as a very excellent painter, in the ftyle 
 of his matter. 
 
 x All thofe objeets of which his fubject was compofed he copied after nature, 'and imitated 
 them with a neat and beautiful exactnefs. He grouped them agreeably, and finifhed his 
 piftures with a light touch, giving them fuch a tranfparence as well as truth, as mult always 
 render them eftimable, although they are not of the firft rank. 
 
 Lambert SUAVIUS. Vid. Lambert Lombard, 
 
 4 M 2 
 
 Peter 
 
SUB [ 644 j SUB 
 
 Peter SUBLEYRAS. 
 Painted Hillary and Portrait. 
 
 DIED 1749, AGED 50. 
 
 He was born at Ufez, a town in Languedoc, not far from Nifmes, in 1699, and was 
 the fon of an indifferent painter, who taught him the firft principles of drawing and 
 defign. But when he perceived in Peter fuch evident appearances of a happy genius, as 
 entitled him to a much more able inftrudlor, he placed him as a difciple with Anthony 
 Rival z at Touloufe. 
 
 His proficiency under that mafter was confiderable, and it qualified him to appear at 
 P^ris with fo great credit (particularly on account of a defign reprefenting the Brazen 
 Serpent in the Wildernefs, by which he gained the prize at the academy), that he was 
 fent to Rome by order of the French King, where he fpent above feven years in purfuing 
 his ftudies and perfecting his hand, as well as his tafte of defign. 
 
 At laft he rofe to high reputation, and was employed by the Pope, the Cardinals, and 
 the principal Nobility ; and his work was coveted, not only by the grandees of Italy, but 
 by feveral of the Princes of Europe. He painted one grand compofition for the church 
 of St. Peter, which was extremely commended ; he finilhed alfo abundance of eafel- 
 pictures for private perfons; and being full as excellent in portrait-painting as in hiftory, 
 he had the honour to paint the portraits of Benedict XIV. and a great number of the 
 Cardinals and Princes who refided at Rome. 
 
 He was remarkable for the delicacy of his pencil, for the goodnefs of his colouring, and 
 for a judicious manner of difpofing his fubjects ; and he goflefTed fo many amiable qualities, 
 united with a fine understanding, that he lived univerfally efteemed, and died at Rome 
 univerfally regretted. 
 
 Justus SUBTERMANS, or Sutermans/. 
 Painted Portrait and Hijiory. 
 
 DIED l68l, AGED 84. 
 
 „ He was born at Antwerp, in 1597, and was the difciple of William de Vos, though 
 he alio received inftruclion from Francis Pourbus. By practifing under both of thofe 
 mafters, he formed a ftyle that was accounted elegant, and in his colouring and difpofition 
 equalled the beft mafters who were his cotemporaries. 
 
 But, having eftablifhed his reputation in his own country, he travelled v to improve 
 himfelf in Italy; he vifited the principal cities, and accurately ftudied every thing that 
 could any way conduce to the advancement of his tafte or his knowledge. For many 
 years he was employed by Cofmo II. Duke of Tufcany, by the Emperor Ferdinand II. 
 by Pope Urban VIII. and by moft of the Cardinals, Princes, and Nobility of every city 
 through which he pafled. 
 
 2 The 
 
SUB 
 
 C 6 45 } 
 
 SWA 
 
 The invention of Subtermans was admirable, and he had an elevated manner of thinking 
 and compofing ; his attitudes were juft and natural; his draperies broad, and well caftj 
 his colouring, though of a particular kind, was ftrong, lively, andpleafing, (hewing a 
 powerful effect from the management of the chiaro-fcuro, and his expreffion is excellent. 
 All which perfections in this great mafter may be obferved in a celebrated picture of his 
 hand, in the palace at Florence: the fubject of it is the Homage fworn to Ferdinand II. 
 by the Florentine Nobility. It is a grand and fine compofition; the colouring is won- 
 derfully natural and true, having alfo an extraordinary force; and the portraits are defigned 
 fo judicioufly, and have their characters fo well marked, that it is eafy to perceive one of 
 his greateft excellencies confifted in painting portraits. 
 
 Herman SWANEFELD, called The Hermit of Italy- 
 
 Painted Landfcape* 
 
 DIED l68o, AGED 60. 
 
 He was born in 1620, and it is generaally faid that he was the difciple of Gerard 
 Douw; but he went very young to Italy; and his genius prompting him to landfcape- 
 painting, he placed himfelf as a difciple with that inimitable artift Claude Lorraine, and 
 foon proved himfelf worthy of fo diftinguifhed a mafter. He ftudied nature inceffantly; 
 and very frequently, along with Claude, obferved the tinglngs of the morning light on 
 the furfaces of different objects, on the mountains, rocks, trees, ikies, and waters; and 
 the various effects of light at noon and evening; by which he was enabled to give his 
 own works fo much beautiful truth and nature, as will for ever render them extremely 
 eftimable. 
 
 It afforded him particular delight to frequent the elegant remains of antiquity about 
 Rome, to obferve and to defign after the fineft ruins ; and in that entertainment he fpent 
 all his leifure hours. From which ftudious and retired manner of life, he was called the 
 Hermit ; and although he was by birth a Fleming, he was diftinguifhed by the name of 
 the Hermit of Italy. 
 
 His pictures have a fweetnefs and tendernefs like Claude, but they want his warmth, 
 and are not fo ftriking in their effect ; yet, with refpect to his figures and animals, they 
 are far fuperior to thofe of his mafter, in the defign as well as the outline. The forms 
 and the touchings of his trees are evident proofs of the delicacy of his ideas and of his 
 pencil; and as the paintings of Swanefeld approach neareft to the ftyle and manner of 
 Claude,' they have always been proportionally prized; and, contrary to what has happened 
 to fome of the greateft artifts that ever painted, his pictures were fo eagerly coveted, that, 
 even in the life-time of Swanefeld, they were fold at exceffive high prices. 
 
 Eustachius 
 
6 U E [ 646 ] S Y D 
 
 Eustachius Le SUEUR. 
 Painted Hijiery. 
 
 DIED 1655, AGED 38. 
 
 He was bom at Paris, in 1617, was the difciple of Simon Vouet, and became one of 
 the moft eminent artifts of the French fchool, his reputation having rofe to fo high a 
 degree that he was called the French Raphael. He ftudied thofe antiques to which he 
 .had accefs in his own country with all poffible afliduity, and feemed to be always ambitious 
 of imitating the ftyle of Raphael, as well as other diftinguiftied mafters of the Roman 
 fchool j but, aiming to be delicate, his proportions are fometimes too (lender, and his 
 figures frequently appear to have too great a length. 
 
 The invention of Le Sueur was eafyand fertile; his compofitions grand and judicious ; 
 his draperies fhew fimplicity and grandeur united, in conformity to the tafte of Raphael; 
 and in the manner of his folds he endeavoured to obferve the order of the antique. Yet, 
 perhaps, his too clofe attention to the antique, contributed in a great meafure to that 
 hardnefs and drynefs which are obfervable in fome parts of his .works. He never quite 
 diverted himfelf of the manner of colouring which he had acquired under Vouet, and 
 knew but little of the chiaro-fcuro, or of thofe colours which are called local. 
 
 Le Sueur had undoubtedly very extraordinary merit, but that merit is blended with 
 jgreat imperfections; fo that, in fome parts of every picture he painted, he appears unequal 
 to himfelf. His tafte of delign, and the airs of his heads, are juftly to be admired; but 
 his naked figures are ufually faulty in the difpofition, as well as the action of the mufcles. 
 The diftribution of his lights and fhadows is not judicious ; his colouring is bold, but 
 not free ; and there feems to be too much ftrength in proportion to the defign. Yet his 
 attitudes are always noble, fimple, and natural ; his expreflion is great, and well adapted 
 to his fubject; and he was ingenious in the choice of his objects. Upon the whole, he 
 had an uncommon mixture of the elegancies and defects of painting; he excelled in the 
 fuperior and moft difficult parts of his profefiion, and erred in thofe which are leaft 
 important. 
 
 The principal work of this mafter is the life of St. Bruno, in twenty-two pictures, 
 preferved in the cloifter of the Chartreux at Paris ; it employed him for three years, and 
 by that performance pofterity will be enabled to judge of his eminent abilities. 
 
 Daniel SYDER, called Cavaliere Daniello. 
 Painted Hijlory and Portrait. 
 
 DIED I72I, AGED 74. 
 
 He was born at Vienna, in Auftria, in 1647, and there received his education in philo- 
 fophy and polite literature ; but he went young to Venice, and ftudied the art of painting 
 5 under 
 
S Y D 
 
 [ 647 ] 
 
 S YD 
 
 under Carlo Loti. After a clofe application for fome years, he imitated the manner of 
 that artift with fo great accuracy, that many of his pictures have been taken for thofe of 
 his matter ; and even in Italy, where two or three pictures of the fame fubject are feen, 
 it is a difputable point at this day, which were painted by Syder, and which by Loti. 
 
 When he had continued a fufficient length of time at Venice to perfect his knowledge 
 of the art of colouring, he removed to Rome, to obtain a more improved tafte of drawing 
 and defign, as the Roman fchool excelled in thofe branches ; and, preferably to all others 
 in that city, he placed himfelf under the direction of Carlo Maratti, who was at that time 
 the moft celebrated matter in Italy. Every advantage he could hope for he obtained from 
 the precepts of that great man, who not only communicated whatever obfervations might 
 be profitable to him in his profeflion, but alfo recommended him to the favour of the 
 Duke of Savoy. That Prince having received him with finguiar refpect, engaged him ' 
 in his fervice; and was fo exceedingly pleafed with his performances, that he {hewed him 
 many public marks of his regard, and conferred on him the honour of knighthood. 
 
 Two capital compofitions of this matter are at Rome, one in the Chiefa Nuova, and 
 the other in the church of St. Filippo Nerifc the fubjects of which pictures are, the 
 Gathering of the Manna in the Defert, and a Laft Supper. In both the difpofition is 
 good, the drawing and defign fo correct, and the exprefllon of the paffions fo excellent, 
 that thofe two compofitions are deemed fufficient to eternize his reputation. 
 
 One incident relative to this matter may not be unworthy of the reader's notice, as it 
 ferves to fhew how highly he was favoured by his patron the Duke of Savoy. To unbend 
 his mind from the fatigue of compofing hiftorici-i fubjects, he fometimes painted portraits; 
 and when the Duke fat down to be painted, Syder appeared in fome confufion, having 
 miflaid his maulftick; but the Duke offered him his walking-cane, which was very richly 
 fet with diamonds, and cheerfully afked him whether that would anfwer his purpofe. The 
 painter made ufe of it while the Duke fat, and prefented it to him as foon as he arofe ; 
 bj^t the courtiers, having previoufly received their directions, prevented him from' 
 returning it, and told Syder that the Duke never refumed a gift which he had voluntarily . 
 beftowed. 
 
T A F 
 
 C 648 ] 
 
 TAR 
 
 T. 
 
 Andrea TAFFI. 
 
 Painted Hijiory and Mofaic. 
 
 DIED I294, AGED 8l. 
 
 He was born at Florence, in 121 3, and was the firft who introduced among his 
 countrymen the true knowledge of the art of painting in Mofaic, as Cimabue had before 
 revived the art of painting in frefco and diftemper in that city. Andrea, having heard of 
 fome very famous Greek artifts who painted Mofaic in the church of St. Mark at 
 Venice, went thither, and cultivated an intimate friendfhip with a principal perfon among 
 them, called Apollonius, and finally prevailed on him, by folicitations, by prefents, and by 
 large promifes of advantage, to accompany him to Florence, to teach him the beft manner 
 of working in Mofaic, and alfo the method of compounding the moft durable kind of 
 cement. 
 
 On their arrival at Florence they aflbciated together, and executed feveral works, 
 which in that age were wonderfully admired. But the performance which fecured the 
 fame of Andrea, was a Dead Chrift, which he finiftied with his own hand, in a chapel at 
 Florence ; and it coft him abundance of care and labour, as the defign was feven cubits 
 long. 
 
 Undoubtedly Andrea was very far excelled by Giotto, and many other fubfequent 
 artifts, yet he had the honour of being the firft who inftructed his countrymen in the art 
 of Mofaic, and pointed out to them that road to excellence, which they afterwards very 
 happily purfued. 
 
 m 
 
 Emilio TARUFFI. 
 Painted Landfcape and Hijiory. 
 
 DIED 1694, AGED 62. 
 
 He was born at Bologna, in 1632, and was a difciple of Albano, with whom he ftudied 
 for fome years; and then appeared in his profeflion with all thofe advantages that might 
 be expected from an artift directed by fo eminent a mafter. 
 
 The tafte of Taruffi in landfcape was beautiful, and he had a moft agreeable choice in 
 his fcenes and fituations ; his figures are elegant, and placed with judgment; and, as well 
 in hiftorical compofitions as in his landfcapes, he had a lively and pleafing manner of 
 painting and defigning. There is a fine picture by Taruffi, in the noble collection of 
 the Earl of Pembroke, at Wilton, reprefenting Cupid forcing away his bow from another 
 boy who had feized it. 
 
 * Agostino 
 
T A S 
 
 C 649 ] 
 
 T E M 
 
 'Agostino TASSI. 
 
 Painted Land/capes, Views of the Sea, and Architecture > 
 
 He was born at Bologna, about 1 580, where he learned the rudiments of the art i but 
 he completed his ftudies at Rome, having there been the difciple of Paul Bril. He 
 imitated in his landfcapes the ftyle and manner of colouring which fo defervedly had 
 rendered his mafter famous j and was much admired for the freedom of his pencil ; for a 
 remarkable fpirit in his touch, either in the leafing of his trees, or in the plants with which 
 the fore-ground of his pictures was ufually decorated ; and alfo for the goodnefs of his 
 colouring. Nor was he lefs eminent as a painter of architecture and perfpe&ive, to 
 which branches he particularly applied himfelf, as he found conftant employment for his 
 pencil in that ftyle. 
 
 For a long time he was engaged at Genoa, along with Ventura Salimbeni i and thofe 
 works which they jointly performed, contributed equally to the honour and applaufe of 
 both. Very few of the paintings of this mafter are to be feen in thefe kingdoms \ but 
 whenever they are to be purchafed, they afford confiderable prices. 
 
 Lazaro TAVARONI 
 Painted Hiflory and Portrait. 
 
 DIED 163I, AGED 75. 
 
 He was born at Genoa, in 1556, and was a difciple of Luca Cangiagioor Cambiafi, a 
 mafter of extraordinary diftindtion. 
 
 When his proficiency under that able artift fufficiently qualified him to appear with 
 credit in his profeflion, Luca was invited by Philip II. King of Spain, to paint feveral 
 grand defigns at the Efcurial; and he took Tavarone along with him, to affift him in 
 that undertaking. But after the death of Cangiagio, Tavarone was retained in the fervice 
 of that Monarch for nine years, not only to finifti what had been left imperfect by his 
 mafter, but alfo to paint many compositions of his own, which he executed to the entire 
 fatisfaction of the King and his whole Court. 
 
 * He likewife painted portraits when he returned from Spain to his own country, and 
 acquired by his works a great fortune, and a much greater reputation. 
 
 Peter TEMPESTA. Vid. Peter Molyn. 
 
 Anthony TEMPESTA. 
 
 Painted Landfcapes, Animals, and Battles* 
 
 DIED 163O, AGED 75. 
 
 He was born at Florence, in 1555, an ^ was a difciple of John Strada or Stradanus; 
 but he proved in many refpects far fuperior to his mafter, particularly in the fertility of 
 
 4 N his 
 
TEN [ 650 3 TEN 
 
 his invention, and alfo in the abundance and variety of his figures. The fubjeas which 
 he moft delighted to paint, were animals of various kinds i huntings of the flag and wild 
 boar, and battles; and thofe fubjeas he exprefled with much livelinefs and nature, though 
 he feemed to neglea die delicacy of colouring. He invented his fubjeas with eafe; he 
 had a ready execution, and his touch was free and firm; but his chiefeft excellence 
 confifted in battles and horfes, which he defigned with a peculiar fpirit. 
 
 David TENIERS, the Old. 
 Painted Converfations. 
 
 DIED 1649, AGED 67. 
 
 He was born at Antwerp, in 1582, and had the good fortune to be a difciple of Rubens, 
 who highly efteemed him for his promifing genius, and with great fatisfaaion examined 
 and commended his defigns. From the fchool of that celebrated painter, Teniers went 
 to finifli his ftudies at Rome; and having attached himfelf to Adam Elfheimer, he 
 continued with him for fix years; and between the ftyles of his two matters, who were 
 incomparable artifts in their different manners, he formed a peculiar ftyle which was 
 agreeable and very natural; and he appeared to be the inventor of that manner of 
 painting which his fon afterwards fo happily cultivated, and brought to its utmoft 
 perfeaion. 
 
 His piaures were ufually final), and his fubjeas were the fhops or elaboratories of 
 chymifls, converfations, rural feftivities and exercifes, temptations of St. Anthony, or 
 Friars, with a number of figures, which he executed with fo neat a pencil, and with fo 
 much nature and truth, that his piaures procured him great honour, as well as continual 
 employment; and every lover of the art feemed eagerly defirous to pofTefs fome of his 
 works. 
 
 However, although his colouring, his touch, his defign, and his pleafing diftribution 
 of the lights and fhadows in his piaures, very defervedly received univerfal applaufe, yet 
 whoever will critically examine the paintings of the old and young Teniers, may obferve 
 a touch more free and delicate, a finer choice of aaions and attitudes, and a much greater 
 tranfparence in the works of the fon, than in thofe of the father. 
 
 David TENIERS, the Young. 
 Painted Landfcapes, Converfations^ Still Life, and Portraits. 
 
 * DIED 1694, AGED 84. 
 
 He was born at Antwerp, in 1610, and was principally inftruaed by his father, whofe 
 tafte of defign he always followed ; but he was afterwards the difciple of Adrian Brouwer> 
 
 and 
 
 * Defcamps fixes the death of Teniers in J690, at the age of 80, contrary to other authentic writers,, who fix hi* 
 death in 1694, at the age of 84. 
 
TEN 
 
 [ 651 ] 
 
 TEN 
 
 and had alfo the advantage of receiving great improvement (particularly in refpect of 
 colouring) from the precepts and direction of Rubens. 
 
 For fome time after he commenced painter, his merit was fo little regarded, that he 
 was often under a neceffity of going in perfon to Brulfels to difpofe of his own pictures, 
 as well as thofe that were painted by his difcrples ; and was as often mortified to find the 
 paintings of Tilburg, Artois, Van Heil, and others, preferred to his own, although they 
 were in every refpect far inferior. But the Archduke Leopold, as foon as he had feen 
 fome of his performances, immediately diftinguifhed him in an honourable manner, 
 placed him infuch a light as made all his merit confpicuous; and laid the foundation of his 
 future fortune. He appointed him one of the gentlemen of his bed-chamber ; prefented 
 him with a chain of gold, to which the portrait of the Archduke was affixed ; and gave 
 him the direction of his gallery of paintings, which Teniers afterwards copied, and 
 publifhed thofe prints of them in a folio volume, that are well known by all the lovers 
 of the art of painting. 
 
 The works of this extraordinary genius being difperfed through mod of the European 
 Courts, and fome of them having been tranfmitted to the King of Spain, he expreffed 
 uncommon pleafure in beholding them ; invited the artift into his fervice, employed him 
 for feveral years, and ordered a gallery to be built, as a particular repofitory for the 
 paintings of Teniers. Nor had this mafter fewer marks of honour and particular efteem 
 from Don John of Auftria, and Chriftina Queen of Sweden ; the former having alfociated 
 with him in the raoft familiar friendship ; and the latter (befides a liberal payment for 
 his works) having made him many valuable prefents, and among others a chain of gold, 
 with her own bufto imprefied on a medal. 
 
 He ftudied nature in every fliape, with a moft curious and critical obfervation; and as 
 he generally compofed his fubjects from peribns in low ftations, he accuftomed himfelf to 
 frequent their meetings at fports, feafts, and paftimes; and by that means had an oppor- 
 tunity of remarking the fimplicity of their manners, and the various actions, attitudes, 
 characters, and paffions, of every age and fex. From fuch obfervations he had nature 
 always prefent to his imagination, in whatever fubject he compofed j and was enabled to 
 give his figures fuch truth, and fuch expreffion, as muft for ever aflure his works of the 
 approbation of the beft judges. And it cannot but feem furprifing, that fubjects which 
 appear to be fo low and barren, could furnifh fuch a wonderful variety from the hand of 
 one mafter. 
 
 Teniers had a ready and lively invention, and was full as ready to execute as to invent; 
 he made nature his model perpetually, and imitated it with aftonifhing exactnefs and 
 truth. His pencil is free and delicate; the touching of his trees is light and firm; his fkies 
 are admirable, and, although not very much varied, are clear and brilliant. And as to 
 the expreffion of his figures, whether they are mirthful or grave, in anger or in good 
 humour, nothing can be more ftrongly marked, more ftriking, or more natural. His 
 pictures are generally clear in all their parts, with a beautiful tranfparence; and it is 
 
 4 N 2 obferved 
 
T E N 
 
 f 652 J 
 
 T E N 
 
 obferved of him by feveral writers, that he poffeffed the art of relieving his lights, 
 by other lights, without employing deep fhadows, and yet produced the intended effect 
 in a very furprifing manner. That method of practice, it is thought, was derived from 
 an obfervation communicated to him by Rubens, which was, that ftrong oppofitions were 
 not always necefl'ary to produce a fine effect in a picture ; and that obfervation Rubens 
 knew infallibly to be juft, from his ftudying the colouring and tints of Titian with 
 accuracy and judgment. 
 
 Teniers was remarkable alfo for another extraordinary excellence ; the power of 
 imitating the works of the greateft painters that Italy, or any other country, produced. 
 The power of his pencil was incredible ; he knew how to adapt it to a variety of 
 eminent artifts, whofe touch and colouring were exceedingly different ; and yet could 
 give his imitations of thofe mafters fo ftrong a character of originality, as to leave it 
 doubtful, whether they were not really painted by the very artifts of whofe manner of 
 thinking, compofing, and penciling, they were only an imitation, or (what the Italians 
 call) Paftici. 
 
 His principal fubjects are landfcapes with fmall figures, corps de garde, merry- 
 makings, kermeffes, fairs, mooting at butts, playing at bowls, and the diverfions, fports, 
 or occupations of villagers ; but any of thofe fubjects which he painted in a fmall fize, 
 are by many degrees preferable to thofe of larger dimenfions. Some connoiffeurs have 
 objected to the compofitions of Teniers, that his figures are too fhort and clumfy, and 
 that there appears too much of a famenefs in their countenances and habits ; but it ought 
 to be confidered, that as he defigned every object after nature, and formed his ideas from 
 that nature with which he was moft converfant, he may indeed be thought not to have 
 given an elegance to his forms equal to the Italian ideas of elegance j but of fuch 
 elegance as appeared in his models, there is fufficient to demonftrate the goodnefs of his 
 choice, and the moft exact precifion in every character and every expreflion. And the 
 incredible prices which are at this day given for the paintings of this mafter, in every 
 part of Europe, are an inconteftable evidence of the univerfal efteem and admiration of 
 his works. 
 
 Many pictures of this great mafter are accounted principal ornaments of the richeft 
 cabinets of Italy, England, France, Germany, and Ireland, too numerous to be particularly 
 recited ; but Defcamps mentions an altar-piece in the church of Meerbeck, a village near 
 Mechlin, painted by this artift, of which the fubject is the Temptation of St. Anthony ; 
 and what feems very remarkable is, that the figures are as large as life, and. it is thus 
 infcribed, David Teniers junior fecit 1666, 
 
 TERBRUGGEN. Vid. Verbrucgen, 
 
 Gerard 
 
TE R 
 
 C 6 53 ] 
 
 T E R 
 
 Gerard TERBURGH, Chevalier. 
 
 Painted Converfations and Portraits. , 
 
 DIED l68l, * AGED 73. 
 
 He was born at Zwol near Overyffel, in 1608, and learned the art of painting from 
 his father, who had fpent fome years at Rome. Some authors imagine that he perfected 
 himfelf under another mafter at Haerlem, before he commenced artiftj but, however that 
 may be, he made a confiderable figure in the Low Countries, and was accounted a very 
 good painter before he fet out on his travels. 
 
 He vifited Italy, Germany, and France, and, wherever he followed his profeffion, < 
 received all poffible encouragement and approbation. At length, by the influence of 
 Count Pigoranda, the Spanifh Ambaflador at the treaty of Munfter, he was induced to 
 vifit Spain, and had the happinefs of being favoured by the King and the Grandees of his 
 Court. His works afforded fo great fatisfaction to the Spanifh Monarch, that he con- 
 ferred on him the honour of knighthood, and prefented him with a chain and medal of gold. 
 
 But, although he had vifited the principal cities of Italy, and had fufficicnt opportunities 
 of obferving the fineft productions of ancient and modern artifts, yet from his works it 
 appears, that the curiofities of that country muft have made very little impreffionon him, 
 as he never improved his tafte of defign by any thing he had obferved, nor altered his 
 manner of compofition. 
 
 The fubjects which Terburgh generally painted, were converfations, reprefenting either 
 perfons engaged at different games, performers on mufical inftruments, or humorous 
 droll adventures and incidents, all of them copied from nature ; though it muft be allowed 
 that in his compofitions nature often appears too fervilely copied, and without that defired 
 embellifhment, which is the refult of elegance of choice. He finifhed his pictures highly, 
 with a light and agreeable touch ; his colouring is lively and tranfparent; and he fliews a 
 pleafing and fkilful management of the chiaro-fcuro j but he wanted a better tafte of defign. 
 
 He was remarkable for introducing white fatin, in the drefs of fome figure, in every one 
 of his compofitions > for he painted that kind of filk perfectly well, and always took care 
 to difpofe of it in fuch places as caufed it to receive the principal light j nor did he ever 
 paint a picture without a fatin drapery. But he was neither fo delicate nor fo judicious 
 as Mieris, or Gerard Douw, or his difciple Netfcher; his pencil being more heavy, and 
 his figures more grofs. His greateft excellence confifted in portrait, and in that ftyle his 
 colouring was true nature, the refemblance ftriking, and the character well marked. 
 
 The moft capital performance of Terburgh, is the reprefentation of the Plenipotentiaries 
 affembled at the congrefs of Munfter; in which he has painted from the life the portraits 
 of all the Ambaffadors and noble perfons which were prefent at the figning of that treaty. 
 
 TERENZIO. Vid. Urbino. 
 
 AuGUSTIN 
 
 * The authors of the Abrcge de la Vie des Peintres fay that Terburgh died in 1681, at the age of 63, and yet fix his 
 birth in 1608, which in 1681 makes him 73. Vid, vol. ii. p. 66. 
 
TER 
 
 [ 654 ] 
 
 TER 
 
 Augustin TERWESTEN. 
 
 Painted Hijiory. 
 
 DIED 1711, AGED 62. 
 
 He was born at the Hague, in 1649; and having from his youth had a fondnefs for the 
 art, he made it his conftant amufement to draw after prints and cafts, and in fome years 
 acquired fufficient fkill to model in wax, and carve on different metals. But finding 
 himfelf unfatisfied with that knowledge which he had already obtained, he determined to 
 make painting his profeflion ; and for that purpofe, although he was near twenty years of 
 age, he placed himfelf as a difciple with Wieling, who was a painter in great reputation; 
 and continued with him for two years, till thatmafter went into the fervice of the Elector 
 of Brandenburg. Then, for two years more he pradtifed in the fchool of William 
 Dodoens, where he improved himfelf in penciling and colouring ; and afterwards travelled 
 to Italy, to eftablifti himfelf in a more correct tafte of defign than he found it poflible to 
 acquire in his own country. 
 
 At Rome he exerted himfelf to defign after the fineft antiques, and alfo to ftudy and 
 copy the beft works of Raphael ; but at Venice he devoted his whole attention to the 
 colouring of Titian and Tintoretto; and by a clofe application, during fix years which he 
 fpent in Italy, he obtained fuch improvement as procured him honour and employment 
 on his return to his own country. Among other accomplifhments, Terweften had 
 gained an uncommon freedom of hand and readinefs of pencil, which enabled him to finifh 
 feveral grand compofitions in falons and magnificent apartments, in a ftiort fpace of 
 time; and by thofe works he eftabliftied his reputation effectually through the Low 
 Countries. 
 
 The fubjecls which this mafter painted, were ufually taken from Ovid ; but he likewife 
 compofed many from facred hiftory, as well as from profane writers. He had a good 
 genius, a lively and prompt invention, and a rapid execution; his colouring is natural, his 
 draperies are well caft, his ' defign is correct ; and he is ranked among the principal 
 painters of his time. 
 
 A convincing proof of Terweften's expeditious manner of painting, is afforded us by 
 Houbraken, from his own knowledge. He tells us, that having paid a vifit to Terweften, 
 while he was painting the hall of burgomafter Slingeland at Dort, with fabulous hiftories 
 from Ovid, and having furveyed the work of the whole apartment, he obferved the out- 
 line of a defign fketched only with a crayon on the chimney-piece. He then preffingly 
 invited the artift to fufpend his work for a while, and walk abroad with him; but 
 Terweften faid, he had fomewhat that would engage him for two hours, and if his friend 
 would call on him at that time, he would cheerfully attend him. Houbraken did not fail 
 to return precifely at the time appointed, and then faw with aftonifhment, that, in fo fhort 
 a fpace of time as two hours, the chimney-piece was entirely finifhed, although it con- 
 firmed of three or four figures. 
 
 2 He 
 
TER 
 
 [ 655 ] 
 
 TER 
 
 He was the principal reviver of the academy at the Hague, which had been much 
 declined; and, by his abilities, it was reftored to its former luftre. Atlaft he was invited 
 to the Court of Brandenburgh, where he was employed to adorn the grand apartments of 
 Orangeburgh ; for which he not only received the commendations of the Elector, and the 
 Nobility of his Court, but alfo the approbation of the beft judges of the art. 
 
 At Berlin he introduced an academy for painting, like that at Paris, of which he was 
 appointed director; and in that city he continued the remainder of his life, refpected by 
 his Prince, and efteemed by the Nobility. 
 
 Elias TERWESTEN. 
 
 Painted Fruit and Flowers. 
 
 DIED I724, AGED 73. 
 
 He was born at the Hague, in 1651, the brother and difciple of Auguftin. He became 
 very eminent for painting flowers, animals, and fruit,, and his works were in great efteem ; 
 but, notwithstanding the fuccefs he experienced in his own country, he was defirous to 
 improve himfelf (till more by examining the works of the beft artifts of Italy, and 
 therefore travelled to Rome, where he fettled entirely. 
 
 The Elector of Brandenburgh, confiding in the judgment and fkill of this mafter, 
 appointed him to procure the fineft cafts from the antique ftates, for the ornament and ufe 
 of the academy at Berlin; and he alfo purchafed for that Prince, the valuable curiofitie3 
 collected by Bellori, which were fo carefully packed up, that they arrived at Berlin without 
 the fmalleft damage. 
 
 Matthew TERWESTEN. 
 Painted Hijiory. 
 
 DIED 1735, AGED 65. 
 
 He was born at the Hague, in 1670, being the youngeft brother of Auguftin, who 
 with great fatisfaclion obferved the early appearances of genius in Matthew, and inftrudled 
 him carefully in the rudiments of the art. But afterwards he was fucceflively the difciple 
 of William Dodoens, and Daniel Mytens, under whom he made fuch a progrefs, that he 
 diftinguifhed himfelf by feveral good compofitions, and finiftied fome noble cielings, which 
 were begun by his brother Auguftin, but had been left imperfect at his going to the Court 
 of Berlin. 
 
 As Auguftin had rendered himfelf eminent by having ftudied in Italy, Matthew purfued 
 the fame track, and vifited Venice and Rome ; in the former city, to obtain a true know- 
 ledge of the art of colouring; and in the latter, an elegant tafte of defign ; and in both 
 refpects he proved extremely fuccefsful: fo that, on his arrival in Holland, after perfecting 
 his ftudies, he found immediate employment, and his compofitions were approved of by 
 the ableft judges and connoifleurs. 
 
 The 
 
T E S 
 
 [ 656 ] 
 
 T HI 
 
 The greateft part of his performances are cielings, and the decoration of grand apart- 
 ments with hiftorical fubje&s j though he frequently painted altar-pieces for many of the 
 churches, and particularly one for the church of the Janfenifts at the Hague, reprefenting 
 the Transfiguration, which is highly commended. 
 
 His paintings are allowed to have evident appearances of genius, judgment, and good 
 invention ; of remarkable freedom in the execution ; of being exceedingly well coloured, 
 and correctly defigned. 
 
 Pietro TESTA. 
 Painted Hi/lory. 
 
 DIED 1650, AGED 39. 
 
 He was born at Luca, in 1611, where, it is thought, he was inftructed in the flrft prin- 
 ciples of painting ; but being impatient to fee Rome, he went thither in the habit of a 
 pilgrim, and for fome time ftudied in the fchool of Domenichino. 
 
 He was indefatigable in defigning the antique ftatues, the baflb-relievos, and magni- 
 ficent ruins about Rome ; as alfo in attending to the works of the moft celebrated painters ; 
 and gave himfelf up fo entirely to thofe ftudies, that he fufFered extreme poverty, being 
 deftitute of all affiftance, except what he could procure for his (ketches and defigns. 
 Sandrart found him in a wretched condition among the ruins ; and compaffionating his 
 diftrefs, conducted him to his own houfe, where he clothed and entertained him j and not 
 only procured him employment in the gallery of Prince Juftiniani, but took pains to 
 recommend him to others. 
 
 However, although he had fpent fo much time in defigning the antique ftatues, as enabled 
 him to draw any of them even by his memory, though he had all the afliftances which 
 might have been derived from a thorough intimacy with the moft admirable productions 
 of human fkill and ingenuity, and although he alfo fhewed an unexampled application, 
 yet he feems not, at any time, to have produced many things worthy of commendation i 
 his colouring being very bad, his pencil extremely hard, his genius licentious, and his 
 figures too frequently extravagant in their proportions. 
 
 This artift loft his life, by endeavouring to recover his hat, which by a fudden guft of 
 wind was blown into the Tyber, while he fat on the bank defigning. 
 
 John Philip Van THIELEN. 
 
 Painted Flowers. 
 
 DIED 1667, AGED 49. 
 
 He was born at Mechlin, in 1618, of a noble family, and was Lord of Couwenberg; 
 yet, although he was carefully educated, and inftructed in every branch of polite literature, 
 his predominant love to painting prevailed fo far, that he placed himfelf as a difciple with 
 Daniel Segers. 
 
 5 / - Under 
 
T H I 
 
 r 657 ] 
 
 T H I 
 
 Under fo able a director, he foon gave evident proofs of genius and tafte, as well as of 
 patient application to his ftudies j and imitated the ftyle and manner of his matter with 
 the greateft fuccefs. He compofed his fubjects ufually in the tafte of Segers, in garlands 
 of flowers around fome historical defign, or in feftoons that encircled vafes enriched with 
 bas-relief. He copied every object after nature, fele.cted them when they appeared in their 
 fulleft bloom, and grouped them with elegance. Nor can any circumstance contribute 
 more effectually to the honour of Van Thielen, than to fay, that his works flood in com- 
 petition with thofe of his mafter. His pictures are well compofed, and very highly 
 finifhed, with a light touch, a neat pencil, and full as much tranfparence as thofe of Segers; 
 but they were not touched with a fpirit equal to what is obfervable in the works of that 
 excellent artift, nor are they difpofed with quite fo much art and elegance. 
 
 He was much employed by the King of Spain, and moft of his fineft performances are 
 in the collection of that Monarch. But there are two capital pictures of his at Mechlin, 
 which reprefent garlands of flowers, with a number of different infects artfully distributed 
 among the leaves, which are exquifitely finiftied ; the figure of St. Bernard being painted 
 in the centre of the one, and in the other St. Agatha. Weyerman alfo mentions one with 
 great commendation, which is alfo a garland of flowers, in which is inferted a nymph 
 lleeping, and a fatyr watching to furprife her, the figures being painted by Poelemburg. 
 
 It ought to be obferved that this mafter rarely infcribed the name of Van Thielen on 
 any of his pictures, but generally marked them with J. or P. Couwenberg, the title of 
 his feigniory. 
 
 Maria Theresa Van THIELEN. 
 
 Painted Flowers and Portraits. 
 
 She was the daughter of John Van Thielen, born at Mechlin, in 1640, and instructed 
 in the art of painting by her father. She painted portraits as excellently as me did flowers; 
 and for neatnefs of pencil, tender and delicate colouring, and great tranfparence, fhe was 
 not inferior to the beft of her cotemporaries. 
 
 De Bie obferves that her pictures were worth their weight in gold. 
 
 Anna Maria Van THIELEN. 
 
 Painted Portraits and Flowers* 
 
 She was the fecond daughter of John Van Thielen, born in 1641, and proved as eminent 
 in the fubjects fhe chofe to paint as either her father or filter. Each of thofe female 
 artifts feemed to emulate each other, in endeavouring to acquire reputation and honour. 
 Each of them had abundance- of merit ; and their tafte of defign, colouring, and handling, 
 were perfectly similar. 
 
 Francisca 
 
T H I 
 
 [ 658 ] 
 
 T H O 
 
 Francisca Catherina Van THIELEN. 
 
 Painted Flowers and Portraits. 
 
 She was a third daughter of John, born in 1645, and, as well as her fitters, learned the 
 art of painting from her father. Nor was flie any way inferior to her fitters, either in the 
 delicacy of her pencil, or the foftnefs of her colouring. 
 
 Jacques Ernest THOMAS, called THOMAS of Landaw»> 
 
 Painted Landscapes. 
 
 DIED 1653, AGED 65. 
 
 He was born at Hagelftein, in 1588, and learned the principles of defign at Landawj 
 and when he was only feventeen years of age diftinguifhed himfelf fo highly, as to obtain 
 the character of a good painter. But he quitted his own country to vifit Italy, and fpent 
 fifteen years at Rome, Naples, and Genoa. 
 
 At Rome he affociated with Elfheimer, Laftman, and Pinas, and in their company" 
 ftudied nature in the environs of that city ; obferving accurately the different tinges of 
 light on all objects, at the different hours of the day, from fun-rifing to fun-fet. He 
 alfo ftudied the manner of the matters who were moft eminent ; but particularly devoted 
 himfelf to the ftyle of Elfheimer, to whom he was moft clofely attached in friendfhip and 
 difinterefted affection. 
 
 He therefore made that celebrated painter his model, and acquired a neat, delicate, and 
 beautiful manner of touching his trees, ikies, and figures, which procured him univerfal 
 admiration. He had a wonderful power of imitating the ftyle and touch of Elfheimer, 
 having fo thoroughly ftudied him, that many of thofe copies which he painted after the 
 Works of that mafter, as well as many of his own compofitions, have been accounted the 
 work of Elfheimer himfelf. 
 
 It is probable that he would never have quitted Rome, had it not been on account of 
 the death of his friend Elfheimer ; for as he both admired and loved him, Rome feemed 
 to have loft in that one artift, not only its greateft ornament, but alfo loft (in refpect to 
 himfelf what he felt moft fenfibly) all that had rendered even Rome fo defirable. He 
 therefore, in the fullnefs of grief, quitted that city, returned to his own country, and 
 died in the fervice of the Emperor at Landaw. 
 
 Sir James THORNHILL. 
 Painted Hi/lory, Architecture, and Portrait. 
 
 DIED 1732, AGED 56. 
 
 This mafter was born in Dorfetfhire, in 1676, but was conftrained to feek out fome 
 profeffion, by the diftreffes of his father, who had been under a neceffity of felling his 
 2 ' paternal 
 
THO 
 
 [ 659 ] 
 
 T I A 
 
 paternal eftate. His inclination directed him to the art of painting ; and on his arrival at 
 London, he applied to his uncle, the famous Doctor Sydenham, who enabled him to proceed 
 in the ftudy of the art, under the direction of a painter who was not very eminent. 
 However the genius of Thornhill made ample amends for the infufficiency of his inftructor, 
 and by a happy application of his talents he made fo great a progrefs, that he gradually 
 rofe to the higheft reputation. 
 
 His genius was well adapted to hiftorical and allegorical compofitions ; he poflefTed a 
 fertile and fine invention ; and he fketched his thoughts with great eafe, freedom, and 
 fpirit. He excelled alfo equally in portrait, perfpective, and architecture; (hewed an 
 excellent tafte of delign, and had a free and firm pencil. Had he been fo fortunate as 
 to have ftudied at Rome and Venice, to acquire greater correctnefs at the one, and a more 
 exact knowledge of the perfection of colouring at the other, no artift among the moderns 
 might perhaps have been his fuperior. Neverthelefs, he was fo eminent in many parts 
 of his profeflion, that he muft for ever be ranked among the beft painters of his time; 
 and his performances in the dome of St. Paul's church at London, in the hofpital at 
 Greenwich, and at Hampton-Court, are fuch public proofs of his merit, as will convey 
 his name to pofterity with great honour. 
 
 This painter lived in general efteem ; he enriched himfelf by the excellence of his 
 works; was appointed ftate-painter to Queen Anne, from whom he received the honour 
 of knighthood ; had the fingular fatisfaction to re-purchafe the family eftate ; and was fo 
 much diftinguiflied, as to be elected one of the members of parliament. 
 
 A L E SSANDRO TIARINI. 
 Painted Hijlory and Portrait, 
 
 *DIED l668, AGED 91. 
 
 He was born at Bologna, in 1577, and was at firft the difciple of Profpero Fontano; 
 but, after the death of that mafter, he finiflied his ftudies in the fchool of Paflignano, who 
 conceived a very high opinion of the abilities of his fcholar ; and there are feveral paintings 
 of Tiarini in Florence, Pifa, and Bologna, in which Paflignano aflifted his difciple. 
 
 Ferdinand Duke of Mantua took him into his favour, and employed him for feveral years ; 
 he fat to him for his portrait, and appointed him to paint all the Princes of his family ; 
 and thofe pictures gained him fuch general applaufe, that all the Nobility of Mantua were 
 folicitous to be tranfmitted to pofterity by his pencil. 
 
 Tiarini had a ftrong beautiful ftyle of colouring, and defigned his fubjects in a good 
 tafte; his expreflion was ufually juft and natural; and he often gave to the heads of his 
 
 4 O 2 figures 
 
 • The French authors of the Abrege de la Vie des Peintres, vol. I, page 237, affcrt that Tiarini was born in 1517* 
 and died 1668, being then 91 years of age. But thofe ingenious writers ought to have obferved, that fuppofmg thofe dates 
 to be true, as they are fet down, he muft have died at the age of 151, and not at 91. Whereas other writers agree to the 
 dates mentioned above ; and I am induced to impute the miftake rather to the inaccuracy of that author, from whom they 
 abridged the life of Tiarini, 6r to the incorreftnefs of a printer, than to any original error of the authors of the Abrege. 
 
T I B 
 
 [ 660 J 
 
 T I L 
 
 figures an air of dignity, and fometimes a graceful turn. But this character of his 
 works agrees only with thofe which he compofed and executed in his prime, and to his 
 middle age; for in his declining years his colouring and penciling were not comparable 
 with his former productions, as the colour was very weak, and his touch ftiff and unfteady. 
 
 In the church of St. Salvatofe at Bologna, there is a Nativity painted in his beft ftyle, 
 and time, which is a fine compofition, with figures larger than life; the defign is grand, 
 and the colouring excellent ; and in the church of St. Agnes, in the fame city s are to be 
 feen the Marriage of St. Catherine, and the Annunciation, which are admirably defigned, 
 and the characters are marked with great judgment and good expreflion. 
 
 TLB ALDI. Vid. Pellegrino. 
 
 Philip TIDEMAN. 
 
 Painted Hijlory and Allegory. 
 
 DIED I705, AGED 48. 
 
 He was born at Hamburgh, in 1657, and received his earlieft inftru&ion from Nicholas 
 Raes, with whom he continued for eight years, and mewed himfelf a good proficient. 
 But in order to improve his knowledge and tafte, he went to Amfterdam, to make proper 
 obfervations on the moft capital works of the great matters preferved in that city. 
 
 At that time Lairefle was in high efteem, which induced him to place himfelf under the 
 direction of that matter for fome time; and as Lairefle obferved his difciple to be poflefled 
 of good talents, he grew extremely 1 fond of him, gave him the beft precepts for his 
 improvement, and employed him to aflift him in feveral grand works in which he was 
 engaged; and in thofe works Tideman gave fuch manifeft proofs of his abilities, that from 
 thenceforward he had fufficient bufinefs, independent of Lairefle, which eftabliihed his 
 reputation. 
 
 The manner in which he compofed fubjects of fabulous hiftory and allegory was 
 allowed to have ftrong appearances of a lively fancy, a good genius, and a ready invention; 
 and in that refpect his defigns were propofed to fubfequent artifts as models. One of the 
 capital compofitions of this matter is the reprefentation of Venus complaining to Jupiter 
 of Juno's perpetual perfecution of ./Eneas ; and another is, Juno applying to Eolus to 
 deftroy the fleet of the Trojans. He left abundance of fketches and defigns, which are 
 at once an evidence of his induftry, and of the fertility of his invention. 
 
 Egidius (or Gilles) Van TILBORGH, or TILBURG. 
 
 Painted Converfations and Markets. 
 
 He was born at Bruflels, in 1625, and imitated the manner of Brouwer and Teniers. 
 His fubje&s are of the low kind, fuch as the aflemblies of boors at markets, fairs, or 
 feaftings, corps de garde, and taverns, as alfo converfations. In his colouring he 
 5 approached 
 
T I M 
 
 [ 661 ] 
 
 TIM 
 
 approached near to the manner and tints of Brouwer; but in his pencil, and in his touchy 
 he was neither fo fpirited nor fo delicate. One of his chief excellencies confifted in the 
 variety obfervable in his compolitions, as it afforued a proof of the fruitfulnefs of his 
 imagination; and his defign and colouring were very commmendable. 
 
 He had a competent knowledge of the chiaro-fcuro, by which he gave a great deal of 
 roundnefs and relief to his objects ; though in fome of his pictures he might be accounted 
 a little too dark; but that imperfection is not perceivable in ail his paintings, feveral of 
 them being really excellent. 
 
 T I M O T E O da U r b i n o. 
 Painted Hi/iory, Portrait^ and Landfcape. 
 
 DIED x I524, AGED 54. 
 
 He was born at Urbino, in 1470; and in the early part of his youth iludied defign, to 
 qualify himfelf for the occupation of a goldfmith, for which he was at firft intended. With 
 that view he went to Bologna to his elder brother, who was eminent for that kind of 
 work ;.but the inclination of Timoteo foon directed him to prefer the knowledge of painting 
 to all other arts; and he applied himfelf with mexpreflible diligence and laborious pleafure 
 to defign and copy the fineft works of the great mafters which were to be feen at Bologna. 
 He entered into converfations on the fubject of painting with the beft artifts of that city, 
 and gradually made fuch a progrefs, as excited their admiration of his talents, as well as 
 their furprife at his rapid proficiency. For, without having any particular director, he 
 acquired an excellent tafte of compofition, great correctnefs of outline, and a fweet 
 manner of colouring, much refembling that of Raphael; although at that time he had not 
 feen any of the productions of that inimitable mafter. 
 
 When he had performed feveral works at Bologna, which procured him general applaufe, 
 be returned to Urbino, where he proceeded in his profefiion wkh equal fuccefs, till the 
 fame of his paintings, which was fpread through all Italy, induced Raphael importunately 
 to invite him to Rome to be his amftant ; and on his arrival he met with fo generous a 
 reception, as was at once worthy of the benevolent fpirit of Raphael, and the extraordinary 
 merit of Timoteo. 
 
 Having thus .an opportunity of obferving the tafte, the ftyle, the colouring, expreflions 
 and execution of the greateft painter that had appeared_fince the revival of the art, he 
 foon improved to fuch a degree, as to eftabliih his reputation on a moft folid foundation; 
 and while he advanced his fame, proportionably increafed his fortune. 
 
 He painted fome grand defigns in conjunction with Raphael ; and he alfo finiflied many 
 of his own compofitions entirely with his own hand, at Siena, Forli, and his native city 
 Urbino. His manner of designing was bold, but his colouring was fweet and lovely; 
 and his pictures were neatly and delicately finifhed. From the time of his going to 
 Rome, his tafte became more elegant ; and as long as he lived, his principal attention 
 was to endeavour at the imitation of Raphael. 
 
 An Holy Family, which is-faid to be painted by Timoteo, is in the Pembroke collection, 
 at Wilton. 
 
T I N 
 
 [ 662 J 
 
 T I N 
 
 Tiberio TINELLI, Cavaliere. 
 
 Painted Hiftory and Portrait. , 
 
 DIED 1638, AGED 52. 
 
 He was born at Venice, in 1586, and was the difciple of Giovanni Contarini, a 
 celebrated painter of portraits ; but when he gained a fufficient degree of knowledge to 
 commence artift, he ftudied the ftyle,and manner of Baflan, whofe pictures he not only 
 copied, but at laft imitated with fuch exactnefs of colouring, and fimilarity of tafte and 
 ideas, that many of his own original compofitions have been efteemed the real work of 
 Giacomo BafTan. 
 
 He proved himfelf extremely well qualified for hiftorical defigns, by feveral fubjects 
 painted by him in that ftyle ; and in particular by a picture of the Salutation, by another 
 of the Laft Supper, and by a reprefentation of Paradife, in which he introduced a multitude 
 of figures. But finding lefs time to be requifite for painting portraits, and obferving 
 alfo that the mind fuffered lefs fatigue from that employment, than when it was engaged 
 in defign and invention, he followed it entirely, and (Sandrart fays) he brought it to 
 confummate perfection. 
 
 His manner was different from all the portrait-painters of his time; for he reprefented 
 the perfons under hiftorical characters, deduced from authentic or fabulous hiftory, and 
 always exprefTed the true refemblance of his models. For inftance, the portrait of David 
 Spinelli he reprefented in the character of Marc Antony, and his wife in that of Cleopatra 
 preparing to drink the diflblved pearl ; and beautiful young females he defcribed in the 
 forms of Aurora, Hebe, or other poetical deities and nymphs, which rendered his portraits 
 abundantly more eftimable. On the fight of fome of Tinelli's pictures, Lewis XIIL 
 exprefTed fo much Satisfaction, that he honoured him with the order of St. Michael. 
 
 He lived highly refpected and beloved at Florence, and might have ended his life with 
 happinefs to himfelf, and pleafure to his friends j but, by fome domeftic misfortunes, his 
 mind was fo difturbed, that he fell into an unaccountable dejection of fpirits, and in one 
 of his diftracted moments he opened one of his veins and expired. 
 
 Giacomo TINTORETTO, or Robusti. 
 
 Painted Hijiory, Portrait^ and Architecture. 
 
 DIED 1594, AGED 82. 
 
 The paternal name of this celebrated painter was Robufti, but he was diftinguifhed by 
 the appellation of Tintoretto, on account of his being the fon of a dyer. He was born 
 at Venice, in 151 2, and became the difciple of Titian, who is faid to have been fo 
 apprehenfive of being excelled by his pupil, that he difmifTed him from his fchool. But 
 Tintoretto was at that time fufficiently qualified to purfue his ftudies, without any 
 director j and therefore applied himfelf to ftudy defign after the works of Buonaroti, and 
 alfo to acquire elegance of tafte, by a more intimate knowledge of the antique. 
 
 While 
 
TIN- [ 663 ] TIN 
 
 While he continued with Titian, he made the moft accurate obfervations on the 
 colouring of that great genius, till he difcovered the true principles by which his mafter 
 had arrived at fuch a degree of excellence; and in his beft works one may readily difcern 
 a manner that ftrongly refembles the colouring of Titian, and a ftyle of defign fimilar to 
 that of Buonaroti. 
 
 Tintoretto was, perhaps, the moft expeditious painter that ever appeared ; and although 
 the rapidity of his execution was fometimes attended with incorre<5tnefs, yet are there 
 many inftances of his having at once fhewn great readinefs of execution, and great 
 excellence. A memorable proof of his abilities may be feen in the fchool of the Confra- 
 ternity of St. Roch at Venice. The members of that fociety having defired Paolo 
 Veronefe, Tintoretto, Salviati, and Zucchero, to make defigns for a picture of the Cruci- 
 fixion, in order to have that defign executed which appeared to have the greateft merit ; 
 Tintoretto finifhed his picture, and had it fixed in the appointed place, before any of the 
 other artifts had completed their Iketches. From which tranfaction he was called, 11 
 Furiofo Tintoretto, the Impetuous Tintoretto. 
 
 Sandrart fays, that he frequently painted his pictures without any preparatory outline, 
 as if he only fported with his pencil; fo that he feems to have executed his ideas almoft 
 as quick as he conceived them. In fhort, he worked fo faft, and adapted his work fo 
 proportionably to the price he was to receive, that very few of the other painters could 
 get employment; for, as he was capable of excellence, his reputation induced perfons of 
 all ranks to be delirous of poflefling fome of his performances. 
 
 He furpaffed all the artifts of the Venetian fchool, in the quicknefs of his genius, and 
 the fertility of his invention. His knowledge of the beft principles of his art was very 
 extenfive > but he had too much fire to be at all times difcreetly directed by that knowledge. 
 He omitted no labour, no ftudy, no application, that could in any degree conduce to his 
 improvement in his profeffion, and, by his general conduct, appeared rather to be ambitious 
 of acquiring glory than riches. Yet he often injured his fame, by proportioning his work 
 to the poornefs of the payment he expected; and by not fufficiently confidering, that 
 many of his flight and ill-executed pictures would fublift, to the difcredit of the artift, 
 when the caufe of his putting fuch indifferent paintings out of his hand might either be 
 forgotten or unknown. From that cuftom practifed by Tintoretto, the remark of Annibal 
 Caracci is juftified, that Tintoretto, in fome of his works, appears equal to Titian, and in 
 others, inferior to himfelf. 
 
 His manner of painting is bold, with ftrong lights, oppofed by deep fhadows ; his pencil 
 is wonderfully firm and free ; his difpolition is good, his execution eafy, and his touch 
 lively, and full of fpirit. His local colours are true, and well underftood, and the carnations 
 of his beft pictures approach near to thofe of Titian. De Piles efteems his colouring to be 
 more true, and more fanguine, than that of Paolo Veronefe ; and Frefnoy, who was an 
 incomparable judge, accounts his colouring admirable. 
 
 The Doge and Senate of Venice, preferring Tintoretto both to Titian and Salviati, 
 appointed him to paint, in one of the grand apartments, the reprefentation of that memorable 
 
 victory 
 
T I N 
 
 C 664 ] 
 
 T I N 
 
 victory gained by the Venetians over the Turks, in 1571 > an d although the defign was 
 large, and a multitude of figures were introduced in that compofition, yet the whole was 
 completely finifhed in one year. But although, in feveral refpects, he might not be 
 efteemed inferior to Titian or Veronefe, yet he certainly wanted that dignity of character 
 obfervable in the works of the former, and the grace, as well as the richnefs of compofition, 
 which diftinguifh the works of the latter. He had great variety in his attitudes, and 
 fome of them are excellent ; yet often the attitudes are contrafted to excels, though thofe 
 of his women are generally graceful, and the heads defigned in a fine tafte. 
 
 Algarotti, a late writer, obferves, that this mafter is no way inferior to any of the 
 Venetian artifts, in thofe pictures which he painted, with an intention to difplay his talents; 
 and this (fays that author) he has particularly fhewn in his Martyrdom, or Miracolo del 
 Servo, which is now preferved in the fchool of St. Mark at Venice. In that picture there is 
 defign, colouring, compofition, life, expreflion, and the effects of light and fhadow,all carried 
 to the higheft pitch of perfection. Scarce had that painting made its appearance in public^ 
 when all perfons feemed to fall in love With it; and Aretine hi mfelf, though fo cordial 
 a friend to Titian, wrote to Tintoretto, that this piece had extorted the applaufe of all 
 thofe who faw it. The fcene (fays he) appears rather true than feigned ; and happy would 
 you be, if, inftead of being fo expeditious, you could prevail on yourfelf to be a little more 
 patient. A fine fketch of this famous picture, reputed to be the original fketch, brought 
 into Ireland, with many capital paintings of the Italian mafters, by the old Duke of Ormond, 
 and purchafed at the attainted -Duke's fale at a high price, is now in the poffeffion of the 
 author 'of this book. 
 
 Moft -of the grand performances of Tintoretto are in the palaces, churches, and convents 
 at Venice ; and in many of them the fire of his genius, the excellence of his invention, 
 compofition, colouring, and handling, are inconteftably evident; and at theEfcurial in Spain 
 are two admirable pictures painted on canvas, with figures as large as the life, which are 
 fufficient to immortalize the artift. -The fubject of one is, our Saviour warning the feet 
 of the Apoftles; and the fubject of the other is, Queen Efther fainting in the prefence of 
 Ahafuerus. Several of his works are preferved in the collections of the Englifh Nobility 
 and gentry, and fome are in the Royal collections of the Kings of England and France. 
 
 Marietta TINTORETTO. 
 Painted Portrait. 
 
 DIED I59O, AGED 30. 
 
 : She was the daughter of Giacomo, born at Venice, in 1560, and was inftrudted in the 
 art of painting by her father. She fnewed an early genius to muiic as well as to painting, 
 and performed remarkably well on feveral inllruments ; but her predominant inclination to 
 that uit in which her father was fo eminent, determined her to quit all other ftudies, and 
 apply herfelf entirely to it. 
 
 By the direction of Giacomo, fhe ftudied the principles of defign, compofition, and 
 colouring ; and drew after the antiques and the fineft models, till file had obtained a good 
 
 tafte 
 
T I N 
 
 C 66 5 ] 
 
 T I N 
 
 iafte, and great readinefs of hand. But, although fhe was well qualified to make a con- 
 flderable appearance in the hiftorical ftyle, fhe devoted her talents wholly to portrait- 
 painting. At laft, fhe became excellent in that way ; for her father, who was accounted 
 very little inferior to Titian, if not his equal in portrait, took pains to communicate to 
 her his beft precepts, in order to dire& her judgment and (kill in that branch of the art, 
 till fhe gained an eafy elegance in her manner of defign, and an admirable tint of colour. 
 Her pencil was free, her touch light and full of fpirit ; and fhe received deferved applaufe, 
 not only for the beauty of her work, but likewife for the exa&nefs of refemblance vifible 
 in all the portraits fhe painted. 
 
 Moft of the Nobility at Venice fat to her j and fhe was folicited by the Emperor Maxi- 
 milian, by Philip II. King of Spain, and by the Arch-Duke Ferdinand, to vifit their 
 Courts ; though the tender affection of her father, who could not be happy if fhe was 
 abfent from him, prevented her from accepting thofe offers, which were fo highly to her 
 honour, and might have been attended with great advantage to her fortune. 
 
 Domenico TINTORETTO. 
 Painted Portrait* 
 DIED 1637, AGED 75. 
 
 He was the fon and difciple of Giacomo,born at Venice, in 1562; but he was very far 
 inferior to his father in his invention, and in his ftyle of compofing hiftorical fubje&s; yet 
 he diftinguifhed himfelf greatly as a painter of portraits, and finifhed a number of pictures 
 for the Princes, and perfons of moft eminence in Venice,.Ferrara, Verona, and Brefcia, 
 
 5 a nt i di TIT I. Vid. Santi. 
 
 Tiberio TITI. 
 
 Painted Portrait* 
 DIED 1627, AGED 54. 
 
 He was born at Florence, in 1573, the fon of Santi di Titi, and alfo his difciple j but 
 the branch of his profeffion which he principally cultivated, was portrait-painting, and in 
 that ftyle he was accounted to exqel. 
 
 Yet, although his talent lay folely in that particular part of his art, being folicited to 
 finifh a picture of the Laft Supper, which his father had begun, but left imperfect, he 
 undertook it, and imitated the manner, the touch, and the tone of colouring of his father 
 With fuch exa&nefs, that it gained him univerfal applaufe. 
 
 ThePrince deMedicis employed him continually, and allowed him an honourable penfion; 
 <hut, in the midft of the happinefs he enjoyed from his fituation, and the favour of the public, 
 
 4P he 
 
T I T 
 
 [ 666 J 
 
 TOO 
 
 he was fo violently affected by the unexpected death of his brother Grazio, who had an 
 extraordinary genius, who was not long returned from his ftudies at Rome, and who 
 for fome time had been his afliftant, that grief fhortened his days, by bringing upon him 
 a pleuritic fever, of which he died, univerfally lamented. 
 
 TITIANO. Vid. Vescelli, 
 
 Girolamo DI TITIANO. 
 
 Painted Hi/lory and Portrait. 
 
 He was a very eminent difciple of Titian, in whofe fchool he continued for feveral 
 year's, and by his works proved that he had thoroughly imbibed the tafte of that celebrated 
 mafter. 
 
 He copied and imitated the works of Titian with fo great accuracy, that the paintings 
 of the one were frequently taken for the paintings of the other j and yet, what was very 
 fingular, his poverty was as remarkable as his reputation was great. 
 
 La TOMBE. 
 
 Painted Portraits and Converfations*- 
 
 DIED 1676, AGED 60. 
 
 This artift was born at Amfterdam, in 1616, but went to Rome when he was very 
 young, and ftudied there for a great many years. 
 
 It was his conftant rule to obferve nature, and to defign after thofe elegant remains of 
 antiquity, which are in the villas about Rome, as well as in the city. His ufual fubjects 
 were converfations and aflemblies of both fexes, habited in the mode of the country ; and 
 frequently he painted portraits ; but, in all his defigns, he was fond of introducing caves> 
 grottos, ruins, or antique fepulchres, wherever his fubjecl: would admit of them j and he 
 rendered his fituations agreeable, by the beauty of his diftances, as alfo by a multitude of 
 fmall figures, which were touched with abundance of fpirit. 
 
 Jacqjues TOORNVLIET, or Torenfliel 
 
 Painted Portraits and Converfations. 
 
 DIED I7I9, AGED 78. 
 
 He was born at Leyden, in 1641, and in that city advanced fo far in the knowledge 
 and practice of the art of painting, as to be enabled to paint portraits, and to gain credit 
 by thofe which he finiihed. But in his twenty-ninth year he travelled to Rome, along 
 with Nicholas Rofendaal, and ftudied tne works of Raphael, Paolo Veronefe, and Tintoretto, 
 With fuch fuccefs, that his reputation was well eftablifhed through that city j and from 
 
 5 thence 
 
TOO 
 
 C % 3 
 
 TOR 
 
 thence he went to ftudy the art of colouring at Venice, where he continued for three years. 
 His merit, and the politenefs of his addrefs, procured him the favour of thofe of the firft' 
 rank, and afforded him free accefs to the palaces and collections of the Nobility. 
 
 He defigned his fubjects with eafe and freedom; and his compofition manifested the tafte 
 of the Italian fchool. He generally painted portraits in the manner of converfations ; and 
 the diftinguifhed marks of this matter's paintings are dae judicious difpohtion of the 
 figures, the correctnei's of his defign, and the agreeable ftyle of his colouring. But not- 
 withstanding the improvement cf his tafte by his refidence at Rome, and that he fhewed 
 himfelf much fuperior, as well in correctnefs as colouring, to what he had been before 
 he ftudied in Italy, yet it was obferved, that after his return to Holland his pictures did 
 not proportionably increafe in their price. It was thought, that by his endeavouring too 
 earneftly to imitate the great matters of Italy, though his defign might be more correct, it 
 had the appearance of being more fervile, and lefs original; and perhaps, by his not having 
 gone fufficiently early abroad, he might have contracted fuch habits as he was .never able 
 entirely to fhake off. 
 
 Flamminio TORRE. 
 Painted Hijiory. 
 DIED l66l, AGED 40. 
 
 He was born at Bologna, in 1621, and learned the firft rudiments of the art from 
 Cavedone ; but he accomplished himfelf in the fchool of Guido. 
 
 His colouring was bold, but mellow; the management of his tints fliewed great judg- 
 ment, and he had a light, clean manner of penciling. His moft remarkable excellence 
 however confifted in his copying the works of the greateft painters, which he fo exquifitely 
 performed, that he made it almoft- an impoflibility to diftinguifh his paintings from the 
 originals. 
 
 John TORRENTIUS. 
 
 Painted Still Life, and obfcene Subjefis* 
 
 ^ DIED 1640, AGED 5 1. 
 
 He was born at Haerlem, in 1589, and in that city was fo well inftrudted, that, without 
 quitting his own country, he became an admirable painter. 
 
 At his firft fetting out in the profeflion, the fubjects he generally painted were objects 
 of ftill life; tables furnifhed with a variety of books, fome of them open, and others 
 clofed, or with vafes filled with flowers, or tables covered with carpets, on which were 
 placed ftandifties, pens, hour-glafles, and fuch like ; fome of which Sandrart fays he faw 
 that were exceedingly high finifhed, with all poffible fimilitude to nature ; and, on account 
 of their fingular merit, were valued at a very large price. Sometimes he painted conver- 
 
 4. P 2 fations, 
 
TOR [ 668 J T R E 
 
 fations, which were extremely admired for their lovely tone of colouring, and alfo for 
 being charmingly penciled, and executed with great truth and force. 
 
 While he continued to paint on fuch fubje&s as thofe, he lived in affluence, furrounded 
 with friends of the firft rank,"and in general efteem. But, unhappily, he grew moft diflblute 
 and abandoned in his morals, and equally fo in his ftyle of defignj his imagination became 
 infected by his debaucheries, and he proftituted the mod delicate pencil, an<3 the fweeteft 
 colouring, to the woitf and moft depraved purpofes. From that time his favourite and 
 cuftomary fubjeas were naked figures, which he reprefented in fuch attitudes as were 
 always offenfive to modefty, and too often moft infamoufly obfcene. His friends exerted 
 all the power of argument to reclaim him from his follies and indecencies; but their 
 expoftulations proved ineffectual. At laft, by inftituting a- private conventicle, as a 
 meeting-place for a fociety of Adamites, he rendered himfelf obnoxious to the magiftracy, 
 who brought him to his trial, and produced feveral of his pictures, as well as fatisfactory 
 evidence of his prefiding in that infamous aflembly. As he peremptorily denied himfelf 
 to be either the painter of thofe pictures, or the patron and contriver of that deteftable 
 aflembly, although the proofs of both appeared inconteftable, he was condemned to the 
 torture; his lewd paintings were publicly burnt by the executioner (at leaft as many of 
 them as could be difcovered), and he was fentenced to iinprifonment in the houfe of 
 correction for twenty years. 
 
 He fupported the torture with incredible obftinacy ; and, after fome time of confinement, 
 was releafed at the requeft of the Englifh Ambaflador, and went to London, where he 
 refided for a few years. But that worthy nation, who deteft profligacy of manners, as 
 much as they regard merit, difcountenanced him as he deferved ; and he retired to Amfter- 
 dam, where he fpent the remainder of his life in obfcurity and contempt. 
 
 Sandrart, and after him Weyermans, affirm that he died under the torture; but 
 Houbraken, who had carefully read the authentic account of him at Haerlem, v/ritten by 
 Schrevelius (which is the beft narrative of the tranfactions relative to Torrentius), ought 
 certainly to be moft relied on, and the above account is extracted from that writer. 
 
 Pierre-Charles TREMOLLIERE. 
 
 Painted Hijiory. 
 
 DIED 1739, AGED 36. 
 
 He was born at Cholet, in Poictou, in 1703, and was the difciple of John-Baptift Vanloo 
 the Elder ; under whom he ftudied, till he had gained feveral prizes in the academy ; and 
 then he was fent to the French academy at Rome, where he refided for fome years, and 
 qualified himfelf to return to his native country with great credit. 
 
 By the French writers he is accounted a very eminent artift; they atteft that he had an 
 elevated genius, a grand and elegant ftyle of compofition, and a correct manner of defigning ; 
 that the difpofition of his figures was highly commendable, that he ufually gave them an 
 agreeable and graceful turn, but that his colouring was weak. 
 
 His 
 
TRE 
 
 C 669 J 
 
 TRE 
 
 He painted feveral grand altar-pieces at Lyons, and other cities of France ; and the year 
 before his death was employed to paint defigns for tapeftry, by order of the French King ; 
 but he died in the prime of life, and in the height of his reputation, when he had fketched 
 only one fubject, the defcription of the golden age, and even that he left unfiniflied. 
 
 Francesco TREVISANI, Cavaliere. 
 Painted Hi/lory, Portraits^ Landfcape^ and Architecture. 
 
 DIED I746, AGED 90. 
 
 This admired painter was born at Triefte, in 1656, and received his firft inftruction 
 from his father Antonio Trevifani, an architect of fome diftinction. Afterwards he was 
 taught the principles of defign and colouring by a Flemifh artift, whofe name is not 
 mentioned j but he is reprefented as an artift in great efteem, for the excellence of his 
 colouring in pictures of a fmall fize, of which the fubjects were fpectres, incantations, or 
 enchantments. However, although Trevifani did not admire the uncommon ideas of that 
 matter, yet he was fo far benefited as to learn his art of colouring ; and a defign which he 
 finiflied in the tafte and ftyle of his inftructor, was accounted a furprifing effort of genius, 
 as Trevifani was at that time not above ten years of age. 
 
 Such an exertion of his talents caufed his friends to place him as a difciple with 
 Antonio Zanchi, who was then much noticed for a new and unufual ftyle of painting, 
 peculiar to himfelf, whimfical, fantaftical, and Angular; and yet, even to that ftyle 
 Trevifani foon adapted himfelf, and not only coloured, but compofed feveral defigns 
 exactly in the manner of Zanchi. However, after he had fomewhat more of pra&ice and 
 experience, his ideas were too elevated to be corifined to fuch a tafte of defign ; and 
 therefore he applied himfelf to ftudy after the beft mafters of the Venetian fchool; and, 
 by fo difcreet a conduct, laid the foundation of that exquifite tafte which recommended 
 him to the admiration of all Italy, and afterwards to the efteem of all Europe. 
 
 As Trevifani was in every refpect very accompliihed, a Venetian lady of a noble 
 family fell in love with him, and confented to marry him ; but as that tranfaction might 
 involve the lovers in fome dangers and difficulties, if it fhould fuddenly be difcovered, they 
 thought it prudent to retire to Rome with the utmoft fecrecy, to avoid the refentment 
 and perfecution of the lady's relations. Fortunately, on his arrival at Rome, he found a 
 patron and protector in Cardinal Chigi, who employed him in feveral confiderable works, 
 and afforded him an opportunity to advance his reputation by difplaying his talents, till his 
 real merit procured him not only admirers, but valuable friends. 
 
 The Duke of Modena, who refided at Rome as Ambaflador frOm the King of Spain, 
 having purchafed fome of the paintings of Trevifani, engaged him to copy feveral capital 
 pictures of Correggio, and Paolo Veronefe, which proved a very fortunate incident to that 
 artift; becaufe he could not have wiftied for a more happy opportunity to improve his 
 own tafte and ftyle, as well as his manner of colouring, than by obferving the grace, the 
 
 fweetnefs 
 
T R E 
 
 [ 670 3 
 
 T R E 
 
 fweetnefs of the tints, and the incomparable touch of Correggio, and alfo the grandeur^ 
 elegance, and richnefs of Veronefe ; and he finifhed thofe copies in fo admirable a manner, 
 that he gained incredible applaufe by his performance. It procured him the honour of 
 knighthood, and fpread his reputation fo univerfally, that his works were fohcited by the 
 firft Princes of Europe, and by all the lovers of the polite arts, being purchafed alfo at 
 extraordinary prices. After the death of Chigi, Cardinal Ottobuoni became his patron, 
 and employed him to adorn his gallery, in which he painted a celebrated picture, repre- 
 fenting the Murder of the Innocents. 
 
 He received commiflions from all the European Courts, which compelled him to work 
 almoft without intermiifion; nor did any perfon of confequence pafs through Rome, 
 without endeavouring to procure fomewhat of his hand, either of portrait, hiftory, 
 architecture, landfcape, animals, or flowers, all which fubjects he painted with equal 
 readinefs and excellence. When he chofe to unbend his mind from the fatigue of his 
 profefiion, he affociated with a few ingenious friends ; and had a fmall elegant theatre 
 erected in his own houfe, where comedies were performed. .His laft work, which was 
 left unfinifhed, was intended to be fent to Naples, and the fubject of it was St. Michael ; 
 but a fudden defluxion on his throat carried him off, and he was interred with all the 
 funeral ceremonies and honours ufually fiiewn to the principal Nobility of Rome. 
 
 This mafter had great freedom of hand, a genius full of elevation, and a noble and 
 grand ftyle of compolition j his figures were generally correct and graceful; they were 
 coloured with tints uncommonly clear, bright, and beautiful ; and what is very fingular in 
 reference to the pencil of Trevifani, is, that notwithftanding his having died when he was 
 ninety years old, yet he preferved the fame delicacy of colouring to the laft period of his 
 life j nor was the elegance of his defign perceptibly impaired by his years. 
 
 Gir o.x a mo da TREVISI, or TREVIGJ. 
 
 . Painted Hiftory and Portrait, 
 
 DIED 1544, AGED 36. 
 
 He was born at Trevifi, -in 1508, and in fome parts of the art of painting was 
 accounted to have abundance of merit. His manner of defigning was not indeed in the 
 grand tafte and ftyle; but his colouring was exceedingly agreeable, and he always 
 endeavoured to imitate the manner of Raphael. 
 
 After fome years fpent in different parts of Italy, he gained the reputation of being an 
 excellent painter,-and particularly by the works which he performed in a chapel belonging 
 to the church of St. Petronius; and then he was induced to vifit England, where he was 
 prefented to King Henry VIII. That Monarch readily took him into his fervice, and 
 allowed him (according to Vafari) a penfion of four hundred crowns a year, employing 
 him not only as a painter, but as an engineer and architect. He received extraordinary 
 encouragement in England, and painted many pictures for the King, as alfo for the 
 Nobility about the Court, which enabled him to live in affluence; and his merit procured 
 him efteem. 
 
 As 
 
TRO 
 
 [ 671 ] 
 
 TRO 
 
 As he was Angularly well flailed in every part of architecture, civil and military, he- 
 was appointed by the King principal engineer at the fiege of Boulogne. But that employ- 
 ment proved fatal to him ; for he was unfortunately killed by a cannon-fhot, while he was 
 with the utmoft activity giving his directions. 
 
 Cornelius TROOST. 
 
 Painted Hiftory r Converfations^ and Portraits. 
 
 DIED 1750, AGED 53* 
 
 He was born at Amfterdam, in 1697, and was the difciple of Arnold Boonen, but he 
 perfected himfelf in the knowledge of his art by an attentive ftudy after nature. He 
 fometimes painted hiftorical fubjects, and fcenes taken from the comedies of his time 5 
 and likewife painted converfations in a very agreeable ftyle, as well as portraits, in which 
 he chiefly excelled. 
 
 He was engaged to paint the portraits of the directors of the college of phyficians at 
 Amfterdam, as large as life, and at. full length, in one piece; which picture effectually 
 eftabiifhed his reputation, and afforded him the opportunity of painting moft of the 
 confiderable perfons of his time. The moft capital performance of this mafter, is the 
 picture in the Surgeons-hall at Amfterdam, reprefenting the principal perfons of that 
 profeflion fitting at a table, on which is placed a fubject prepared for direction ; and the 
 profeffor appears as if explaining the parts, previous to the operation. The figures, which 
 are all portraits, are well defigned, and have a good relievo; the habits are-fuitable to 
 the mode, and the whole has a great deal of harmony. He was alio much applauded for 
 the portrait of the famous phyiician Boerhaave, which is placed in the anatomical hall. 
 
 His converfations were, in fome refpects, commendable; but he was cenfured for not 
 being more ftri&ly modeft in his fubjeds, and for indulging too great an indelicacy and: 
 licentioufnefs in his compofitions. 
 
 Francis de TROY. 
 Painted Hijiory and Portrait, 
 
 DIED I73O, AGED 85. 
 
 He was born at Touloufe, in 1645, the fon and difciple of Nicholas de Troy; but at 
 the age of feventeen he became the difciple of Nicholas Loir, at Paris, under whom he 
 was much improved. When he commenced artift, he begun with hiftorical fubjects, 
 which gained him credit; but his genius more ftrongly inclined him to portraits than to 
 any other branch of his art, and in that ftyle he received great amftance from the 
 inftructions of Claude le Fevre. 
 
 In fome time he was admitted as a profeffor in the academy ; and having at his intro- 
 du&ion prefented, according to cuftom, an hiftorical picture, reprefenting Mercury and 
 
 Argus*. 
 
T R O 
 
 C 672 J 
 
 T R O 
 
 Argus, it was received with fuch public approbation, that he was immediately engaged 
 to paint a number of facred as well as profane fubjedts, and in particular, one noble 
 compofition in the church of St. Genevieve. He alfo finifhed a. picture for the Duke of 
 Maine, defigned in a very elegant ftyle, which confifted of above fifty figures, as large as 
 life. It was well compofed, and finely coloured, and reprefented the fplendid reception 
 given by Dido to iEneas, when that hero recounts the ieries of his diftrefles and mis- 
 fortunes. 
 
 By the order of Lewis XIV. he went to the Court of Munich, to paint the portrait of 
 Anna Maria Chriftina, who was to be married to the Dauphin ; and at his return to Paris, 
 he received the higheft encomiums for the beautiful colouring, and exquifite finifhing of 
 that portrait } and particularly for preferving. the remarkable vivacity of that Princefs, by 
 a lovely and graceful expreffion. 
 
 The Florentine and the. French writers concurrently atteft, that the colouring of 
 De Troy is natural, and very pleafingj that his pencil is delicate; his figures round, and 
 well relieved; and that, by.a-peculiar happinefs of touch, he, gave fweetnefs and harmony 
 to the whole. 
 
 The portrait of this matter is honoured with a place in the Florentine gallery of artifts, 
 
 John - Francis d e TROY, Chevalier. 
 .Pginted Portrait and Hijlory. 
 DIED I752, AGED 76. 
 
 He was born at Paris, in 1676, and was inftructed in defign and colouring by his father 
 Francis de Troy, under whofe direction he acquired a free and expeditious manner of 
 painting; but, when he had made a confiderable progrefs in his. art, he travelled to Italy 
 to finifh his ftudies; and having vifited Pifa and Rome, and obferved every thing worthy 
 of his attention in thofe cities, he returned to Paris, being then reputed an excellent artift. 
 
 On the firft public exhibition of his works, they were generally admired, and the beft 
 judges of the art commended the taite, - the- colouring, the invention, the neatnefs of his 
 finiftiing, and the happy union of fimplicity and grandeur, which appeared in his compo- 
 fitions. His uncommon merit procured him the particular efteem of Lewis XIV. who 
 honoured him with the order of St. Michael, and afterwards appointed him director of the 
 academy at Rome ; which ftation he filled with dignity, being as exemplary in his conduct 
 in private life, as he was to the artifts in his profeffion. 
 
 This matter had a iine and fruitful invention, and an extraordinary readinefs in his 
 manner of handling; his touch was free and firm; his colouring extremely pleafing; and 
 in all his defigns he ftiewed a natural and juft expreflion, as well of the motions of the 
 limbs, as of the paffions of the mind. 
 
 The portrait of this matter, painted by himfelf, is placed among the celebrated painters 
 in the gallery at Florence. 
 
 .RombouT 
 
w 
 
 T R O [ 673 ] TUL 
 
 Rombout Van TROYEN. 
 Painted Hi/lory and Land/capes, with Caves. 
 died 1650. 
 
 This mafter, who (according to the Flemifh writers) had never feen *Rome, ufually 
 painted caves, grottoes, and the veftiges of ancient edifices, which are to be feen in the 
 environs of Rome, and other parts of Italy; of which, it is fuppofed, he took the ideas, 
 from fketches made by other artifts; and he always introduced fome hiftorical fubjecly 
 taken from the facred, or poetical hiftory. 
 
 In his fmall pictures, he had great neatnefs in his touch, firmnefs in his pencil, and 
 t'ranfparence in his colouring, and fome of them have the appearance of great merit; but 
 he was not correct: in his figures; nor were all his fmall works of equal eftimation, fome 
 being far inferior to others. 
 
 His colouring is, in general, not very pleafing, having painted many of his pictures 
 with too predominant a yellow ; and in others, his browns create obfcurity ; yet fometimes 
 his execution is remarkably good, and his perfpective agreeable. In his large pictures his 
 touch, his defign, his colouring, and his drawing, are all very indifferent, and his fmalleft 
 are perpetually his beft performances. 
 
 Theodore Van TULDEN, or Thulden. 
 
 Painted Hiftory^ Converfations y and Fairs. 
 
 DIED 1676, AGED 69. 
 
 He was boni at Bois-le-duc, in 1607, and was the difciple of Rubens. He difKnguifhed 
 himfelf fo highly while he ftudied under the direction of that great man, that he was 
 confidered as one of the beft of that fchool ; and his mafter, who foon difcerned his talents, 
 employed him as one of his afliftants in thofe grand defigns which he finifhed in the 
 Luxembourg gallery. 
 
 At firft he was fond of painting lively and chearful fubjects, fuch as fairs, kermefTes, 
 converfations, and the diverfions of peafants, in the manner of Teniers ; but his greateft 
 excellence appeared in his compofitions of hiftorical fubjects. Thofe are entirely in the 
 ftyle of his mafter Rubens, and are extremely fimilar, as well in refpect to the ideas as 
 the colouring ; nor are they much inferior to him. But what feemed very fingular in 
 this painter was, his ability to paint in fmall as well as in large, his genius being happily 
 adapted to both ; in the former, he was ingenious ; and in the latter, elevated and grand. 
 He had a thorough knowledge of the chiaro-fcuro, and by that means he gave force to his 
 figures, and life to his colour; but in refpect of his drawing, he is efteemed to be rather 
 lefs correct than his mafter, the imperfections of an inftructor being very apt to infect 
 a difciple. However, he was fo ready at defigning fmall figures, that he frequently was 
 employed to infert them in the works of Stenwyck, Neefs, and other mafters of diftinction. 
 
 4 Q Francesco 
 
 * The pubiiflier of the Chronological Tables fays, that Van Troyen ftudied in Italy. 
 
TUR 
 
 [ 674 3 
 
 TYS 
 
 Francesco TURBIDO, or Torbido, called II Moro. 
 Painted' Hijlory and Portrait. 
 
 SUPPOSED TQ HAVE DIED IN 1581, AGED 8l. 
 
 He was born at Verona, in* 1500, and at firft was a difciple of Giorgione; but after- 
 wards ftudied under Liberale Veronefe, and was accounted an admirable painter of hiftory 
 and portrait, equal in both refpects to any artift of his time. 
 
 In his colouring he imitated Giorgione, and his works were applauded for the fweetnefs,. 
 union, and harmony of his tints j but, as to tafte of compofition and defign, he always 
 retained the manner of his mafter Liberale, who loved him as if he had been his own fon. 
 Vafari obferves, that although Torbido was but a young man at the death of his mafter,, 
 yet by his amiable qualities, and by his perfonal merit, as well as by the beauty and fpirit of 
 his works> he fo won the efteem and affection of Liberale, that he was appointed heir to 
 that painter ; and by that acquifition of fortune was enabled to follow his profeflion with 
 greater eafe and fatisfa£tion. 
 
 He painted a great number of- pidlures in frefco and in oil, at Verona, Friuli, and 
 Venice; and in the chapel of Santa Maria in Organo, at the latter city, he painted a 
 Transfiguration, which was efteemed a capital performance. His portraits were excefiively 
 curious, beautifully and naturally coloured, finifhed with remarkable care and neatnefs, 
 and had all the look of real life, with a furprifing refemblance of his models. 
 
 Alessandro TURCHI. Vid. Alexander Veronese. 
 
 Peter T Y S S E N S, 
 Painted Hijlory and Portrait. 
 DIED 1692, AGED 67. 
 
 He was born at Antwerp, about the year 1625, and was one of thofe diftinguifhed 
 artifts whofe works were efteemed to be not much inferior to Rubens. 
 
 At 
 
 * The different accounts of feveral authors relative to the birth and death of Francefco Torbido appear to be very 
 confufed, and not eafily reconciled. They agree in general that he was 81 when he died 3 but fome affirm that his death 
 was in 1521} and the Chronological Tables fix his birth in 143O, and his death in 1521, which makes him 91 when, 
 he died. 
 
 Vafari, who feems to be moft worthy of credit, as being the writer neareft to his time, though he does not mention 
 the precife year of the birth of Torbido, nor the year of his death (as that artift was probably alive when Vafari wrote), 
 yet mentions certain circumftances which may direfl us to the truth. That author fays Liberale died in 1536, and 
 bequeathed his houfe, Sec. to Francefco Torbido, who was at that time a young man. Now, as that expreffion can fcarce 
 be juftified, if we fuppofe Francefco to have been above 36 years of age at that time, it may feem probable that he wa» 
 born in 1500, and to have died in 1581, aged 81, which alfo appears to be three years after the death of Vafari. For 
 as to the dates of the other authors, they muft be evidently falfe, becaufe he outlived Liberale by many years ; and as that 
 mafter died in 1536, Francefco being appointed his heir, could not polfibly have died in 1 521, fifteen years before 
 Liberale j and fcr the fame reafon, he could not have died in 1521, at the age of 91, according to the Chronological 
 Tables. 
 
T Y S 1 675 } T Y S 
 
 At his firft fetting out in his profeflion, he applied himfelf to the painting of portraits, 
 merely from a view of immediate advantage, and neglected hiftory ; but having received 
 fome fevere mortification in regard to his works in that ftyle, he determined to relinquish 
 it, and refume the more mafterly ftyle of hiftory, in which he had all the fuccefs he could 
 defire. 
 
 His manner of defigning was grand ; his compofitions are full of fpirit j his colouring 
 is ftrongj and he ufually enriched his back-grounds with architecture. His reputation 
 was very greatly advanced by an altar-piece which he painted for the church of St. James, 
 at Antwerp j the fubject of it was the Aflumption of the Virgin; and the colouring and 
 compofition of it gained him the approbation of the public, and the efteem of the beft 
 judges, 
 
 N. T Y S S E N S. 
 
 Painted Still Life-, Flowers, and Birds. 
 
 He was born at Antwerp, in 1660, and fuppofed to be the fon of Peter TylTens. He 
 learned the art of painting in Flanders, but lived at Rome for a long time, where he was 
 conftantly employed by a picture merchant ; and he alfo fpent fome years at Naples and 
 Venice. However, his pictures did not pleafe in general, as being dull and unenlivened; 
 and were only purchafed by other artifts, who valued them for being true imitations of 
 nature, and for the goodnefs of the colouring. 
 
 This mafter rarely painted any other fubjects but thofe of the, military kind, fuchas 
 armour, helmets, fwords, guns, drums, fabres, and all forts of trophies, which he 
 compofed and grouped with a great deal of ingenuity. When he returned from Italy to 
 his own country, he found no greater demand for his works at home than abroad, which 
 induced him to vifit DufTeldorp, as the Elector Palatine was a remarkable encourager of 
 all artifts. As that Prince was then anxious to have the beft collection of paintings in 
 Europe, he employed Tyflens as his agent to purchafe for him every curious picture 
 through the Low Countries, that could be procured at any price ; and that artift executed 
 his commiffion with honour to himfelf, and to the utmoft fatistaction of his employer. 
 
 As he found no coniiderable demand for his ufual fubjects, he changed his ftyle, and 
 painted flowers, but not with any great degree of credit; he therefore at laft painted 
 birds, and proved very fuccefsful, fome of his compofitions in that way having been 
 accounted worthy of being compared with the works of Boel or Hondekoeter. 
 
V AD 
 
 C 6 7 6 •} 
 
 V A I 
 
 V. 
 
 Louis de VADDER. 
 Painted Landfcape. 
 
 He was born at BrufTels, about the year 1560, and became an excellent painter of 
 landfcape. He underftood the principles of perfpective thoroughly, and difpofed his grounds, 
 trees, views, and figures, in fo true a manner, proportioning every object to its diftance* 
 that his pictures have always a fine effect. 
 
 It was his cuftom to ftudy nature with a very uncommon degree of exactnefs j and 
 frequently he was abroad in the fields at the rifing of the fun, to obferve the gradual 
 diffufion of light upon every object, even to the moft remote diftance; and alfo the manner 
 of the difperfion of the morning mifts and vapOurs by degrees unfolding the diftant 
 mountains and hills, and rendering them more perceptible; and the knowledge which he 
 derived from fuch a method of ftudy is evidently feen in all his landfcapes. 
 - The pictures of Vadder, though not defigned with all the elegance of the Italian artifts, 
 have neverthelefs abundance of truth and nature j and he had the art of blending through 
 many of his Ikies the refemblance of thofe floating vapours which gradually form thein- 
 felves into clouds. His diftances are generally blue and clear ; his trees are defigned in 
 a good tafte, touched in a free and mafterly manner, with a great deal of fpk it ; and the 
 reflexions of thofe trees in the water (which he always paints very tranlparent), are clear, 
 true, and fo natural as to afford pleafure to the moft judicious beholder. 
 
 VAGA. Vid. Pierino. 
 
 Wallerant VAILLANT. 
 
 Painted Portrait* 
 
 i>ied 1677, aged 54. 
 
 He was born at Lifle, in 1623, but quitted his native city, and went to Antwerp to 
 learn the art of painting, where he placed himfelf as a difciple with Erafmus Quellinus. 
 The love of his profefiion engroffed his whole mind, and to the inftructions of his mafter 
 he added a diligent ftudy after nature j by which means he became a good defigner, and a 
 confiderable artift. 
 
 He found his genius to be beft adapted to portrait-painting, and therefore applied himfelf 
 particularly to that branch, in which he fucceeded to his wiih. And as very fplendid 
 preparations were making at Frankfort, for the coronation of the Emperor Leopold, he 
 went, by the advice of his friends, to that city, where he had the honour of painting the 
 portrait of his Imperial Majefty j and he gave the figure fuch an air of dignity, with fo 
 ftriking a refemblance, that it procured him abundance of employment among the Princes 
 
 a and 
 
m 
 
 V A I [ 677 J V A L 
 
 2nd Ambafladors who were refident there at that time. He afterwards fpent four years 
 at the Court of France, to which he was recommended by the Marefchal Grammont, 
 and painted the portraits of the Queen Mother and the Duke of Orleans with extraordinary 
 approbation. 
 
 With an equal degree of merit he painted in oil and with crayons ; but as his younger 
 brother painted only in the latter, he relinquished it entirely, to avoid all manner of 
 competition with his brother. 
 
 , Bernard VAILLANT. 
 Painted Portraits in Crayon, 
 
 He was the brother of Wallerant, born at Ryffel, in 1625, and was alfo his difciple, 
 travelling along with him wherever he went. At firfl he praclifed in oil, but he after- 
 wards neglected it, and painted only in crayon, in which manner of painting he acquired 
 confiderable reputation.. 
 
 It was allowed by the beft judges that his attitudes were eafy, that his manner of 
 handling was excellent, and that the likenefs was remarkably {Inking. He fpent the 
 greateft part of his life at Rotterdam, in general efteem and conftant employment. 
 
 VALENTINE de Colombien, called VALENTINO. 
 Painted Hi/lory, Soldiers at play ', and Taverns. 
 
 DIED 1632, AGED 32. 
 
 He was born at the village of Colomiers, in the country of Brie Champagnoife, irr 
 the year 1600, and for fome time was a difciple of Vouet; but he foon quitted that 
 mafter, and travelled to Italy to obtain a better tafte of defign and colouring than he 
 eould poflibly acquire under the guidance of Vouet. He ftudied the works of the great 
 artifts at Rome, but preferred the ftyle of Caravaggio to others ; and as he obferved that 
 the ftrong mafTes of light and fhadow of that mafter produced a bold effect and great relief,, 
 he fixed on him for his model, and ever after endeavoured to imitate bis manner. 
 
 His ufual fubjects are of the fame caft as thofe of Caravaggio and Manfredi, foldiers 
 playing with cards or dice, taverns, or concerts of mufic ; and he rarely painted hiftorical 
 fubje&s, yet fometimes he compofed them for churches and the palaces of the nobility. 
 One devotional (ubject in particular he painted for St. Peter's at Rome, by order of his 
 patron Cardinal Barberini, nephew to Urban VIII. reprefenting the Martyrdom of 
 St. Martinian. That performance procured him extraordinary honour, as it was executed 
 with a great degree of force, and with more elegance than is ufually obferved in his 
 compofitions. 
 
 He made nature his principal ftudy, and difpofed his figures with confiderable judgment j 
 his pencil is firm, and his colouring has remarkable force ; nor is it loaded with fuch 
 extreme blacknefs in the fliadows as we fee (and cannot but difapprove) in many of the 
 
 paintings 
 
V A L 
 
 f 678 J 
 
 V A L 
 
 paintings of Caravaggio. But as to the elegance of his figures, the grace, or the grandeur 
 of his defign, he cannot be commended, nor was he very correct. His peculiar attention 
 feemed to be exerted, to add force to his colouring, fo as to produce a ftriking effect ; 
 and the readinefs of his hand frequently caufed him to overlook many incorrections in his 
 drawing as well as in his defign. 
 
 Several of the works of this mafter are in the royal collection at Paris ; among which 
 are mentioned, Judith with the head of Holophernes, the Judgment of Solomon, Sufanna 
 and the Elders, two mufical aflemblies ; and one, of foldiers playing at cards. 
 
 VALKENBURGK. 
 Painted Italian Fairs, and Dead Game* 
 
 DIED 1623, AGED 68. 
 
 He is fuppofed to have been born at Nuremburgh, about the year 1555; and having 
 4earned the principles of his art in his own country, he went to Venice, and placed himfelf 
 under the care of the moft eminent painter in that city. He ftudied the works of Titian, 
 Tintoretto, and P. Veronefe j and from exact obfervations which he made, of the merits 
 of thofe admirable mailers, he formed a ftyle of his own, that was agreeable and elegant. 
 
 Fairs, markets, feftival fports, and dead game, were his general fubjects j. and likewife, 
 , views of cities and buildings, which he copied from nature. Thofe he executed with 
 a light clean pencil, a delicate touch, and a *one of colouring that appeared lively and 
 natural. For the moft part, he defigned a great number of figures in all his compofitions 
 that required them i and his figures were generally very correct, and full of expreflion, 
 though he could not entirely diveft himfelf of the German tafte, Which appeared in the air 
 and drefs of many of his figures. When he returned to Germany, his paintings were 
 highly admired, and even in his life-time afforded a very large price. 
 
 Dirk, or Theodore VALKENBURGE 
 ..Painted Portraits, and . Game of fever al kinds, 
 
 DIED 1721, AGED 46. 
 
 He was born at Amfterdam, in 1675, and even in his £arlieft youth, mewed ftrong 
 tokens of a good genius to painting. . At fifft he was placed as a difciple with Kuilenburg ; 
 but he foon difcovered the inability of that mafter to afford him the improvement he 
 defired. He therefore fucceffively ftudied with Mufcher and Weeninx, with whom he 
 continued for a few years, till, by the^inftructions of Weeninx in particular, and the affiftance 
 he received fronvftudying after nature, he found himfelf qualified to commence painten 
 
 His fubjects were portraits, and game of all forts, in which he had extraordinary fuccefs ; 
 though he feemed ambitious to defign fubjects of a more elevated ftyle, and for that 
 purpofe determined to vifit Rome. But, in his intended route to Italy, happening tp 
 
 travel 
 
# 
 
 VAN [ 679 3 VAN 
 
 travel through Vienna, the Prince of Lichtenftein, who faw and admired his performances, 
 made him the moft honourable propofals to detain him at the Imperial Court. There he 
 found fo much encouragement and refpedl:, and likewife acquired fo large a fortune, that 
 his refolution to ftudy at Rome was totally laid afide, and then he only became anxious to 
 revifit his native country. 
 
 Loaded with riches and honours, he returned to Amfterdam, and was employed by King 
 William III. to adorn his palace at Loo. Yet, in the midft of his fuccefs, his life was 
 rendered fo unhappy by domeftic difquiets, that, in fearch of tranquillity, he fled to Surinam 
 in the Weft Indies, and continued there for two years; but as the climate difagreed with 
 his conftitution, he returned to Holland, in a very bad ftate of health, and much enfeebled 
 in his limbs. As foon as his infirmity permitted, he refumed his pencil ; but his perfor- 
 mances did not appear in any degree equal to what he had produced in the former part of 
 his life, either in refpecl to the colouring, defign, or execution : fo that his latter paintings 
 we not to be compared with thofe of his early time. 
 
 The beft works of this mafter are defervedly in very high efteem ; and after his death, , 
 two of his pictures were fold at Amfterdam for a thoufand florins, although the fubjecls » 
 were only dead game j and the value of his pictures is ftill increafing, whenever they are -■ 
 to be purchased in Holland. 
 
 V ANB ALE N. Vid. B a l e n. 
 VAN DIES T. Vid. Dies t# 
 
 Sir Anthony VANDYCK,. 
 Painted Hiflory and Portrait. 
 DIED 1 64 1, AGED 42. 
 
 This incomparable painter was born at Antwerp, in 1599, and was at firft inftructed 
 by Henry Van Balen, but afterwards became the difciple of Rubens j and diftinguiflied : 
 himfelf fo highly in the fchool of that great artift, that he conferred honour on his inftrudlor, 
 and was accounted, in fome refpects, to approach very near him. 
 
 By the advice of Rubens, he went in his twentieth year to Italy, in-order to complete 
 his ftudtes, and perfect: himfelf in his profeflion ; and, after a fhort continuance at Rome, , 
 vifited Venice, where he conceived that exquifite notion of colouring which hath fecured 
 to him the admiration of the whole world. He obferved minutely every tint and every 
 delicacy in the works of Titian, Veronefe, and the celebrated mafters of the Venetian 
 fchool, with judgment and a nice penetration ; and by the ftrength of his genius difcovered 
 the true principles which guided thofe illuftrious artifts to fo high a degree of excellences . 
 by which means he acquired fuch an exquifite pencil as might almoft place him in com- 
 petition even with Correggio. 
 
 Having fufHciently difplayed his eminent talents at Venice, Rome, Genoa, and his native 
 city, till his reputation fpread itfelf through all parts of Europe, he was invited to 
 5 London 
 
VAN 
 
 [ 680* ] 
 
 VAN 
 
 London by King Charles I. who received him in.to his fervice, with an appointment of 
 a confiderable penfion-j and not only prefented him with a chain of gold, and his own 
 portrait richly adorned with diamonds, but alfo conferred on him the order of knighthood 
 in 1632. His amiable difpofition, and perfonal accomplifhments, united with his extra- 
 ordinary merit in his profeflion, gained him the affection of the King ; procured him the 
 refpect, efteem, and admiration of the Nobility, and every lover of the art; and, by his 
 perpetual employment, he was enabled to live in the utmoft fplendour and opulence. 
 
 He excelled in hiftory and portrait, but his gr-eateft power appeared in the latter; and 
 no painter better underftood the principles or practice of the chiaro-fcuro than Vandyck. 
 His choice of nature, when he painted portraits, was always that which was moft agreeable; 
 he gave an inexpreflible grace to his heads ; he fhewed abundant variety in the airs, and in 
 fome of them the character was even fublime ; and as to his expreffion, it was inimitable, 
 the very foul of the perfon reprefented being vifible in the portrait. The extremities of his 
 figures are true, graceful, and exact ; and the hands in particular are defigned in the greateft 
 perfection, beautiful in their form, and delicately exact in their proportions. His draperies, 
 which were taken from the mode of the times, are caft in a grand ftyle, broad, and fimple in 
 the folds, eafy and natural in the difpofition, and his colouring is lovely. 
 
 In feveral parts of painting, Vandyck has ever been acknowledged to furpafs his mafter ; 
 his touch is more delicate, his ideas more graceful, and his expreffion more true. It is 
 indeed generally alledged, that he had lefs invention, and lefs fire, thin Rubens; yet if it 
 is confidered that he devoted himfelf fo entirely to portrait-painting, as to allow himfelf 
 lefs opportunity to improve his tafte for hiftorical compofitions, it cannot feem furprifing 
 that Rubens, who made hiftory his principal and perpetual object, fhould in that refpect 
 claim a fuperiority. However, it appears no way improbable, that if Vandyck had been 
 as incefTantly employed in hiftory as he was in portrait, his ideas might have been more 
 enlivened, his genius rendered more extenfive, and his invention more animated, fo as to 
 have equalled his mafter in defign, as he furpafled him in the delicacy and fweetnefs of 
 his tints. And if Rubens deferves to be preferred to Vandyck in hiftory, yet the latter, 
 in many of the portraits of his earlier time, is allowed equal even to Titian, and fuperior 
 to all others who have appeared fmce the revival of the art of painting. 
 
 During the firft fix or feven years after his arrival in London, his performances are 
 accounted moft excellent, and moft eftimable ; but fome of his latter works are painted 
 in fuch a manner as fhews the uncommon rapidity of his pencil, though they are touched 
 with wonderful fpirit ; and others of them are comparatively weak, and partake too much 
 of the lead colour, though his penciling is always maftejy, always inimitable. 
 
 The moft capital of the works of Vandyck are in England. At Blenheim, the portrait 
 of King Charles I. in armour on a dun horfe. At Houghton, a whole length in armour. 
 At Hampton Court, the King in armour on a white horfe, his equerry holding his helmet. 
 At Kenfington, George Villiers, fecondDuke of Buckingham, and Lord Francis his brother. 
 And at Wilton, the Pembroke family, a moft capital performance. Alfo at the Marquis of 
 Rockingham's, the celebrated picture of the Lord Strafford and his fecretary. In the 
 
 collection 
 
VAN 
 
 [ 6*1 ] 
 
 VAN 
 
 collection of the Duke of Orleans there is a mofl: admirable pictnre by Vandyck j it is 
 a whole-length of Mary de Medicis, which is fmiflied as highly as the power of his art 
 could reach j it mews at once the ftrength of Rubens, and almoft the colouring of Titian: 
 the manner of it is in the higheft degree noble, and yet it appears equally eafy and natural ; 
 and many of the portraits of the Nobility of England, which were painted by Vandyck, 
 are not in any refpecl inferior to that celebrated portrait of Mary de Medicis. 
 
 Philip VANDYCK. 
 
 Painted Hijiory^ Portraits., and Converfations. 
 DIED 1752, AGED 72. 
 
 He was born at Amfterdam, in 1680, and was the difciple of Arnold Boonen, with whom 
 in a few years he made a commendable progrefs ; but, as he was defirous to obtain all 
 poffible improvement under that matter, he determined to continue under his direction 
 till his reputation was well eftabliflied j nor did he quit his mafter Boonen before his 
 works were in great requeft, and very readily purchafed. 
 
 As Amfterdam feemed fulficiently flocked with painters, he fettled for fome time at 
 Middleburgh, and afterwards at the Hague j and in both was employed by the principal 
 perfons for their portraits, which he painted in a fmall as well as a large fize, with an 
 equal degree of merit. Many of them he painted in the manner of Mieris and Gerard 
 Douw i and although he was indefatigable at his work, he found it fcarce pofiible to anfwer 
 the demands of thofe who were folicitous to procure them. 
 
 In Holland, Flanders, and Germany, he was confidered not only as an artift of the firfl: 
 rank, but as one of the mofl: judicious connoiffeurs j and on that account was employed 
 by Prince William of Hefle Caflel, who patronifed him, and by feveral others of princely 
 fortunes, to purchafe collections of paintings for their cabinets j which commiflions he 
 always executed to the fingular fatisfadtion of his employers, and to his own honour. 
 
 The number of portraits, converfations, and hiftorical fubjedts, which he finiihed, is 
 almoft incredible; but two of his performances are particularly mentioned with great 
 commendation. One is a picture containing the portraits of the Prince of Orange, his 
 mother, and fifter, in one piece ; the other is a cieling, which he painted for Mr. Schuylen- 
 burgh, reprefenting the ftory of Iphigenia, in which fubject he introduced the portraits of 
 the whole family of his employer. 
 
 His portraits, efpecially thofe in his fmall fize, have a ftrong refemblance, and fuch 
 truth as evidently {hews that he faithfully copied nature. All his fubjects are well com- 
 pofed, neatly penciled, and highly finiihed, with an agreeable tone of colour j and although 
 his pictures cannot be defervedly ranked with thofe of Douw, Netfcher, or Mieris, yet 
 they have abundance of merit, and are admitted to a place in the moft felect collections. 
 
 VANGOYEN. Vid. Goyen. 
 
 VAN- 
 
VAN 
 
 [ 682 ] 
 
 VAN 
 
 VANDER DOES. Vid. Does. 
 VANDER HELST. Vid. Helst. 
 VAN HUYSUM. Vid. Huysum. 
 VANDER KABLE. Vid. Kable, or Cabeu 
 VAN LAER. Vid. Bamboccio. 
 VAN E Y C K. Vid. E y c k. 
 
 Jacques VANLOO. 
 Painted Hijlory and Portrait. 
 
 He was the fon of John Vanloo, a painter of fome diftimStion, by whom he was inftructed 
 in the art of painting, and became an excellent matter. He followed his profeflion at 
 Amfterdam, and in the chief cities of Holland and Flanders, with great credit and fuccefs ; 
 and particularly excelled in defigning naked figures, which he drew correctly, and finifhed 
 with a neat pencil, and agreeable colouring, j 
 
 Houbraken mentions a fine picture of this matter's compofition, which reprefented 
 Diana in the Bath, and the difcovery of Califto ; and another alfo, of a Woman playing on 
 the Lute, which, in the ttyle and handling, might be taken for the painting of Jan Lys» 
 Both of thofe pictures were marked as being painted in the fame year, 1657. 
 
 John Baptist VANLOO. 
 Painted Portrait and Hijlory. 
 
 DIED 1745, AGED 6l. 
 
 He was the fon of Lewis, and grandfon of Jacques Vanloo, two eminent artifts, and 
 was born at Aix in 1684. His father, perceiving very promifing appearances of an apt 
 genius in his fon, from his earlieft years, cultivated his talents with all poflible diligence 
 and care. He taught him the beft principles of his art, communicated to him every 
 ufeful inftructive obfervation, and caufed him to copy the beft compofitions of the greateft 
 matters ; till, by the ftudious application of a few years, he appeared in the world with 
 very great advantage. 
 
 At firft he fettled at Toulon; but when that fortrefs was befieged in 1707, he fled to 
 Aix, where he painted a great number of hiftorical pictures for the churches, convents, 
 and hotels of the Nobility, as well as portraits; and, after a continuance of five years in 
 that city, entered into the fervice of the Prince of Carignan, who enabled him to complete 
 his ftudies at Rome. 
 
 Vanloo made a proper ufe of fo happy an opportunity ; and, on his arrival at Rome, 
 devoted his whole time and attention to eftabliftrhis tafte of defign, and perfect his hand. 
 He ftudied the antiques, he copied the moft famous paintings, and appropriated not only 
 the entire days to his improvement, but the evenings alfo were fpent in drawing and 
 
 defigning 5 
 
VAN 
 
 C 683 ] 
 
 VAN 
 
 defigning j and, that he might not omit any thing conducive to his advantage, he placed 
 himfelf as a difciple with Benedetto Luti, who was at that time in high eftem. In a ftiort 
 time he fo effectually eftabliihed his credit, that he found fufficient employment while he 
 refided at Rome, by which he added continually to his reputation ; and when he quitted 
 that city was honourably employed by the Duke of Savoy, though he ftill attached himfelf 
 to his patron, the Prince of Carignan. 
 
 For fome years he refided at the French Court, and by his performances gained uni- 
 verfal efteem, and a large fortune ; till, by the advice of his friends, he was prevailed on to 
 vifit London, being recommended to Sir Robert Walpole. By that minifter he was made 
 known to the Prince and Princefs of Wales, who honoured him fo far as to fit to him 
 for their portraits ; and afterwards he painted feveral of the Royal Family, and fo great a 
 number of the Nobility and Gentry, that he fcarce had any difengaged hours for the firft 
 four years of his refidence in London. At length, finding his health much impaired, he 
 returned to Aix, in 1742, where, in a few months, he was able to refume his pencil ; and 
 with undiminished merit followed his profeffion, till near the time of his death, which 
 happened three years after in 1745. 
 
 Vanloo had an uncommon quicknefs of invention ; he defigned with all imaginable 
 facility, and was fo remarkable for the readinefs of his execution, that in one day he 
 compleatly finifhed three portraits, in a good ftyle, and a free manner. He had an excel- 
 lent tone of colouring, with a light and fpirited touch ; and gave his carnations a frelhnefs 
 and warmth not very far inferior to the tints of Rubens. 
 
 Carlo VANLOO, Chevalier. 
 Painted Hijlory. 
 
 DIED I765, AGED 60. 
 
 He was born at Nice, in Provence, in 1705, the fon of Lewis Vanloo, and brother to 
 John-Baptift Vanloo, by whom he was inftructed in the firft principles of painting; but 
 afterwards he was placed as a difciple with Benedetto Luti, who took pleafure in cultivating 
 thofe extraordinary talents which he difcerned in his pupil; and the precepts of Luti, 
 aided by the inftructions of John-Baptift his brother, laid the foundation of that excellence 
 at which Carlo afterwards arrived. 
 
 As foon as he had confirmed his hand in drawing, and gained a good degree of know- 
 ledge in regard to colouring, he quitted the fchool of Luti, and accompanied his brother 
 to France, where he affifted him in repairing the gallery at Fontainbleau, originally painted 
 by Primaticcio, and then returned to Rome to purfue his ftudies. The love of his 
 profeffion, and his commendable ambition to become eminent in it, engaged his whole 
 attention; and therefore he applied himfelf inceffantly to defign after the antiques, to copy 
 the moft capital paintings of Raphael, Domenichino, Guido, the Caracci, and Carlo 
 Maratti; and his affiduity was rewarded with all the fuccefs he could defire; for his 
 
 4 R 2 reputation 
 
VAN 
 
 [ 684 J 
 
 VAN 
 
 reputation at Rome increafed with every new performance, and the Pope conferred on 
 him the order of knighthood. 
 
 It is remarked by the Avriter of the life of this painter, that he often varied his ftyle of 
 painting, and finifhed fome of his pictures with a bold, free pencil, and others with foft- 
 nefs and delicacy ; in fome, imitating the touch and colouring of Guido, and in others, 
 the manner of other great matters ; fo that one would be induced to believe that he faw 
 nature only with the eyes of thofe illuftrious mailers who were his models. 
 
 The imagination of Carlo was lively, and very fertile; he invented with eafe, and 
 compofed his fubjects with elegance of tafte, and fingular judgment; nor was he, like 
 many artifts, fo fond of his own productions as to overlook their imperfections; for, with 
 an accurate, impartial, and fevere eye, he examined every work he compofed, and altered 
 whatfoever his judgment difapproved, with full as much readinefs as he compofed. And 
 of this he gave an evident proof, in a picture of the Graces chained by Love, which he 
 totally altered, even after it had been publicly exhibited at the Louvre, in 1763. 
 
 His colouring is exceedingly natural ; and his power in penciling enabled him to produce 
 a pleafing effect, as well when his touch was ftrong and vigorous, as when it was tender 
 and delicate. His eminent talents procured him the honour of being appointed principal 
 painter to the King of France, at which Court he was held in the higheft efteem. But, 
 wherever he refided, he was admired and careffed ; nor was he in his life more generally 
 applauded for his merit, than he was univerfally regretted at his death. 
 
 Charles VANMANDER. 
 Painted Hijlory and Landfcape. 
 
 DIED 1606, AGED 58. 
 
 He was born at Meulebeke, a fmall diftance from Courtray, in 1548, and was fuccef- 
 fively the difciple of Lucas de Heere at Ghent, and Peter Vlerick at Courtray; but his 
 principal knowledge in the art of painting was acquired at Rome, where he ftudied for 
 three years. 
 
 His greateft pleafure confifted in defigning after the antiques, and the curious remains 
 of Roman magnificence ; the temples, baths, ruinous theatres, fepulchral monuments a«d 
 their decorations, and, in fhort, every elegant and noble object that invited his attention. 
 He alfo ftudied after nature in the environs of Rome, iketching every fcene that pleafed 
 his imagination, or could afford him materials for future compofitions in the landfcape 
 ftyle ; and having practifed to paint with equal freedom in frefco and in oil, he executed 
 feveral hiftorical works, as well as landfcapes, for the Cardinals and Nobility of Rome, 
 with extraordinary approbation. 
 
 At his return to his own country he was received with unufual refpect, and foon after 
 painted the reprefentation of the Terreftrial Paradife, which- procured him great honour ;T 
 as the figures of Adam and Eve were finely defigned, and well coloured ; and the landfcape 
 
 5 and 
 
 / * 
 
VAN £ 685 ] VAN 
 
 and animals were executed with an equal degree of merit. He painted likewife a picture 
 of the Deluge, which was highly applauded for the compofition and expreflion, as it 
 defer ibed all the paflions of grief, fear, terror, horror, and defpair, with a feniible and 
 affecting variety. In general he was efteemed a good painter of landfcape: the choice in 
 his trees was Judicious, his figures -were well defigned, his colouring was agreeable, and 
 his compofition full of fpirit; though, in the advanced part of his life, he appeared to 
 have fomewhat of the mannerift. 
 
 Van Mandcr had many accompliftiments, and diftinguiflied himfelf not only as a painter, 
 but as a writer. He compofed tragedies and comedies, which were acted with applaufe; 
 and, what is very uncommon, he painted alfo the decorations of the theatre. At Haerlem 
 he introduced an academy, to diffufe among his countrymen a tafte for the Italian matters j 
 and the world is indebted eminently to Van Mander for fearching out, and tranfmitting 
 to pofterity, the characters and merits of fo many memorable artifts as are comprifed in 
 his Lives of the Painters. 
 
 Jacques VAN O O S T, the Old. Vid. Oost. 
 
 — OOST, the Young. Vid. Oost. 
 
 Adam VAN OORT. Vid. Oort. 
 VAN OPSTAL. Vid. Opstal. 
 VAN ORLAY. Vid. Orlay. 
 
 Paul Van VANSOMEREN, or VANSOMER. 
 
 Painted Portrait. 
 
 DIED 162I3 AGED 45. 
 
 He was born at Antwerp, in 1576, and excelled in painting portraits, having been 
 perfected in that branch by Bernard Vanfomeren his elder brother, who had fpent feveral 
 years in Italy, and was accounted extremely eminent for painting converfations and portraits. 
 For fome years he followed his profeffion with great fuccefs at Amfterdam ; but afterwards 
 went to England, where he found encouragement equal to his merit, as his portraits were 
 defervedly admired for elegance and eafe in the attitudes, and alfo for a remarkable 
 refemblance. 
 
 At St. James's there is a half-length of the Earl of Pembroke, at that time Lord 
 Chamberlain, which is admirably executed, the figure being finely relieved by a fkilful 
 management of the chiaro-fcuro. There is alfo a whole-length of the firft Earl of 
 Devonfliire at Chatfworth, reputedly by this mafter, which is accounted not inferior to 
 Vandyck ; and feveral others are to be feen at Hampton Court, and in the collections of 
 the Englifli nobility and gentry. 
 
 Joris VANSON, the Old. Vid. Son. 
 
 < i VANSON, the Young, Vid. Son, 
 
 Adrian 
 
VAN 
 
 [ -686 J 
 
 ^ AN 
 
 Adrian VANDERBURGH. 
 
 Painted Portraits and Converfations. 
 
 DIED 1733, AGED 40. 
 
 He was born at Dort, in T693, and was a difciple of Arnold Houbraken. He painted 
 portraits and converfations; in the former he proved very fuccefsful, by not only giving a 
 ftrong likenefs, but by his improving nature tofuch a degree as to makehis pictures agree- 
 ably refemble their models j and in the latter he painted in the ftyle of Mieris and Metzu. 
 
 His manner was very plealmg > for the colouring of his portraits appeared natural 
 and true ; nor were any of the tints broken or tortured. His touch had the appearance 
 of eafe and freedom; and yet, while his pictures feem to have been expeditioufly finiftied, 
 and with a kind of negligence, they were accurately and neatly performed. His talents 
 were confeffedly good, but he impaired them by indulging too great a fondnefsfor diflblute 
 company, extravagance, and excefs ; neglecting his family, his difciples, and his reputation ; 
 till by his intemperance he fhortened his days, and left but few of his paintings to 
 perpetuate his memory. 
 
 Two of this matter's compofitions are mentioned by a Dutch writer : one is the repre- 
 fentation of a Fifhmonger's fhop, in which a man appears toying with a young woman ; 
 the other is a woman overcome with liquor, which is exceedingly well finiihed, but 
 rather too indelicate. Thofe pictures are at prefent in the poiTeflion of Mr. Bifchop, at 
 Rotterdam. 
 
 VANDERMEE RE. Vid. Me ere. 
 VANDERMEULEN, Vid. Meuun, 
 VANDERNEER. Vid. Neer. 
 
 Adrian VANDERVELDE. 
 
 Painted Land/capes, Animals, and Hijiory, 
 
 DIED J672, AGED 33. 
 
 He was born at Amfterdam, in 1639, and from his infancy ftiewed a ftrong genius to 
 painting, which induced his father to place him as a difciple with John Wynants, with 
 whom he continued for feveral years; and was fo carefully inftructed by that matter, that 
 before he quitted Wynants, he perfectly underftood the beft and fineft principles of the 
 art. It was his conftant cuftom to ftudy every object after nature ; the fcenes and fitua- 
 tions of his landfcapes, the trees, clouds, and every fpecies of animals, were curioufly 
 ©bferved by him, and iketched in the fields, to which he every day reforted; nor did he 
 difcontinue that practice as long as he lived. 
 
 As he had applied himfelf in a particular manner to the defigning of figures, he not 
 only had the advantage of embelliftiing his own landfcapes, but alfo the landfcapes of many 
 
 other 
 
VAN 
 
 [ 68 7 ] 
 
 VAN 
 
 other artifts, whofe works were in the higheft eftimation. He inferted the figures in the 
 landfcapes of Ruyfdael, Hobbima, Moucheron, Vander Heyden, and even in the pictures 
 of his mailer Wynants, who, till he experienced the ability of his difciple, had generally 
 engaged Wouwermans for that purpofe, but afterwards entrufted that part to Adrian. 
 
 In the choice of his fubjects, and the agreeablenefs of his fcenes, as well as in the 
 excellence of his colouring, he fcarce had a fuperiorj and as nature was always his model, 
 his compofitions are remarkable for their truth. His touch is free and fteady; his trees 
 are natural and well formed, and the leafing fharply and accurately marked. His Ikies 
 have a peculiar brilliancy j and as he was exactly watchful to obferve the effects of light 
 on every particular object, he has moft happily exprefied its effects, through the branches 
 of his trees, on the furface of his waters, on his cattle, and in fhort on every part of his 
 fcenery. 
 
 But although the general fubjects of Adrian were landfcapes, with fheep, goats, horfes, 
 or horned cattle, yet he was not lefs expert at compofing fubjects of hiftory, nor were 
 his works in that ftyle in any degree lefs eftimable. In the Romifh church at Amfterdam 
 there is an excellent picture painted by Adrian Vandervelde, representing the Defcent 
 from the Crofs, with figures half as large as life, which is greatly admired ; and he alfo 
 painted feveral other hiftorical pictures, taken from the fufferings of Chrift, with equal 
 fuccefs and reputation. 
 
 Through all the paintings of this mafter there appears a tendernefs and uncommon 
 warmth j his figures are well defigned, and his cattle remarkably correct, with abundance 
 of life and fpirit in their actions and attitudes. And when we confider how highly his 
 own pictures are finifhed, and alfo how many figures he inferted for others, it will be' 
 evident that he mult have been indefatigable in his labours, as well as exceedingly expe- 
 ditious in his manner of working, fince he died when he was only thirty-three years 
 of age. 
 
 Few of his works are now to be met with, as he did not live long enough to leave any 
 conliderable number, and thofe that are to be purchaled are extremely dear ; as they 
 are particularly coveted through the Low Countries, where he is accounted one of their 
 molt eminent painters. 
 
 Esaias VANDERVELDE. 
 
 Painted Battles and Landfcape. 
 
 He was born about 1590, and efteemed a very excellent painter of fuch kind of fubjects 
 as fuited his genius, and thofe were principally battles, fkirmifhes, robberies, plundering 
 of villages, or the marchings of foldiers, in a fmall fize, which he defigned with a great 
 deal of fpirit, and finifhed them with a light, free pencil, and a good tone of colouring, 
 if it was not fometimes a little too green. 
 
 His expertnefs in fmall figures procured him employment almoft perpetually from 
 Other artifts, who were folicitous to have their landfcapes or perfpective views adorned by 
 
 his. 
 
V A N 
 
 [ 688 *] 
 
 "VAN 
 
 his pencil ; and it was remarked of this painter, that he ufually drefl his figures in the 
 Spanifti mode. During his life his works were highly efteemed, and brought great prices ; 
 but at this time they feem to be confiderably funk in their value. 
 
 William VANDERVELDE, called the Old. 
 Painted Sea-pieces and Sea-fights, 
 
 DIED 1693, AGED 83. 
 
 He was born at Leyden, in 1610, and in his youth was bred up to a feafaring occupa- 
 tion j but afterwards he applied himfelf to the art of painting, and diftinguifhed himfelf 
 eminently as a painter of mips and fea-pieces. As he had been early acquainted with 
 marine affairs, and for a long time converfant with marine objects, he became a moft 
 correct and admirable defigner, and made an incredible number of drawings on paper, 
 heightened with Indian ink, which he fketched after nature, with as much elegance as 
 exactnefs. He gave an eafy, natural pofition to the fails of his vefTels, and likewife to the 
 rigging ; his proportions of every part were beautifully true, and he finimed his pictures 
 with the utmoft neatnefs. 
 
 As the Englifh were remarkable for conftructing their vefTels in a much more graceful 
 form than any other European power, and were equally remarkable for their generous 
 encouragement of artifts, Vandervelde determined to fettle himfelf and his family in 
 London j and on his arrival his expectations were not difappointed. Eor, foon after, he 
 had the honour of being taken into the fervice of King Charles II. with an appointment 
 of a confiderable falary, and was continued in the fame fituation under his fucceflbr 
 James II. 
 
 This matter feems to have been, even to a degree of enthufiafm, fond of hi,s art ; for, 
 in order juftly to obferve the movements and various pofitions of (hips engaging in a fea- 
 iight, that he might defign them from nature, and unite truth with grandeur and elegance 
 in his compofitions, he did not hefitateto attend thofe, engagements in a fmall light vefTel, 
 and fail as near to his enemies as his friends, attentive only to his drawing, and without 
 the leaft apparent anxiety for the danger to which he was every moment expofed. Of 
 that bold and dauntlefs difpofition he gave two very convincing proofs before his arrival 
 in England, the one, was in that fevere battle between the Duke of York and Admiral 
 Opdam, in which the Dutch Admiral and five hundred men were blown up; the other 
 was in that memorable engagement which continued three days between Admiral Monck 
 and Admiral De Ruyter. During the continuance of thofe different engagements Van- 
 dervelde plied between the fleets, fo as to reprefent minutely every movement of the (hips, 
 and the moft material circumftances of the action, with incredible exaclnefs and truth. 
 
 It is obferve.d that, in the latter part of his life, he commonly painted in black and white, 
 jon a ground fo prepared on canvas as to make it have the appearance of paper. 
 
 William 
 
VAN 
 
 [ 689 ] 
 
 VAN 
 
 William VANDERVELDE, called the Young. 
 Painted Sea-pieces, Storms , Calms, and Sea-fights. 
 
 DIED I707, AGED 74. 
 
 He was born at Amfterdam, in 1633, the fon of William Vandervelde, by whom he 
 was carefully inftructed in the art; but afterwards he was placed under the direction of 
 Simon de Vlieger, a very excellent painter of ftiips, fea- mores, and fea-ports, who how- 
 ever was far furpaffed by his difciple. 
 
 As foon as young Vandervelde found himfelf fufficiently prepared to appear with 
 advantage in his profeffion, he went to vifithis father in London; and fome of his paintings 
 being exhibited at the Englifh Court, were beheld with fuch applaufe and admiration, that 
 he was immediately employed by the King, and alfo by the principal Nobility. His fubjects 
 were the fame as thofe of his father, and he obferved the fame method of fketching every 
 object after nature; but his pictures were defigned and finifhed in fo exquifite a manner, 
 that they are not only fuper.ior to the works of his father, but to all other artifts in that 
 ftyle ; no age, fince the revival of the art, having produced his equal. 
 
 The paintings of this mafter have in every refpect fuch a degree of perfection as is 
 not to be difcerned in the productions of any other artift. And whether we confider the 
 beauty of his defign, the correctnefs of his drawing, the graceful forms and pofitions of 
 his vefiels, the elegance of his difpofition, the lightnefs of his clouds ; the clearnefs and 
 variety of his ferene (kies, as wejl as the gloomy horror of thofe that are ftormy; the 
 livelinefs and tranfparenee of his colouring; the look of genuine nature that appears in 
 agitated and ftill waters; and the lovely gradation of his diftances, as well as their 
 perfpective truth; we know not what principally to admire: they are all executed with 
 equal nature, judgment, and genius ; they all are worthy of our highefl: commendation, 
 they are truly inimitable. 
 
 Houbraken and other writers obferve, that the pictures of the young Vandervelde are 
 fo efteemed in England, that thofe which were fcattered through the Low Countries 
 were eagerly fought after, and purchafed at vaft prices ; fo that in Holland they rarely 
 have the pleafure of feeing any of them. Undoubtedly the moft capital of his works 
 are in England in the Royal collections, and in the cabinets of the Nobility and Gentry 
 of that kingdom; and fome few are alfo in Ireland. Among the number, one fine picture 
 of a Calm is in the poffeffion of Thomas Cobbe, Efq. and another, of a large fize, 
 reprefenting a fhip of war grappled by a fire-fhip, and fet on fire by the explofion, is in 
 the pofleflion of the Lord Vifcount Kingfland. 
 
 Adrian VANDERVENNE. 
 
 Painted Drolls, Beggars, and Figures dancing. 
 
 He was born at Delft, in 1589, and was fucceflively the difciple of Simon de Valck 
 and Jerom Van Dieft of Leyden., who followed the profeffion of painting in that city 
 
 4 5 with 
 
VAN 
 
 C 6 9 o 3 
 
 VAN 
 
 with great credit ; and under the direction of the latter he continued for feveral years, 
 till he was qualified to commence artift. 
 
 His (abj cdts are generally of the loweft kind, copied from nature, without choice or 
 variation, either as to the drefs, features, or forms of his figures; and his fubjects are 
 as generally difagreeable. His pictures fhew freedom of hand, and a mafterly pencil j but 
 his ideas are grofs, and his colouring is unpleafant, by the tints of yellow and .brown 
 being too predominant. His chief merit was feen in thofe compofitions which he painted 
 only in black and white ; and as he had a light fpirited touch, his expreflion is well adapted 
 to his characters. He appears fond of defcribing mirthful fcenes of dancing, drinking, 
 or fporting; and, it cannot but be allowed, that notwithftanding the ungraceful forms of 
 his figures, fome of his pi6tures have a lively and pleafant effect. 
 
 The King of Denmark and the Prince of Orange held the works of this mafter in great 
 efteem; and for the latter he painted feveral hunting-pieces, which are ftill in the 
 collections of the defendants of that Prince. 
 
 Adrian V AND E R WE RF. Vid. Werf. 
 Roger VANDERWEYDE. Vid. Weyde. 
 
 Francesco VANNI, Cavaliere, called VANNIUS of Siena. 
 
 Painted Hi/iory. 
 
 *DIED l6lO, AGED 47. 
 
 He was born at Siena, in 1563, the fon of a painter who was in no great reputation, 
 and received his earlieft inftruction in the fchooLof Archangelo Salimbenij but when he 
 was twelve years old, he travelled to bologna, and there ftudied for two years under the 
 direction of Paflerotti. Yet finding in himfelf an impatient defire to fee the celebrated 
 antiques, and the works of Raphael, he went to Rome, and placed himfelf with Giovanni 
 da Vecchia. By the precepts of that mafter, his proficiency was extraordinary ; fo that 
 his performances not only extorted applaufe from the ableft judges, but alfo excited the 
 jealoufy and envy of Giofeppino, who was inftructed in the fame fchool. 
 
 Having therefore taken every prudent method to eftablifh his tafte, and alfo to perfect 
 his hand, he returned to his native city, where he ftudioufly contemplated the paintings 
 of Baroccio, and fo highly admired them, that he preferred the ftyle and manner of that 
 mafter to all others. He made him conftantly his model ; imitated him in the graceful 
 turn of his figures, as well as in the delicacy of his pencil, with all imaginable fuccefs ; and 
 was generally efteemed to be no way inferior to him. However Vanni, in his travelling 
 / through Lombardy, added to his tafte confiderably, by ftudying the compofitions of 
 Correggio, as univerfally allowed to be one of the beft painters of his time. 
 
 His 
 
 * According to Baglione, whofe authority feems to deferve the preference, Vanni was born in 1563, and died i6io> 
 aged 47. But De Piies fixes the death of Vanni in 1615, aged 47 ; the Chronological Tables alfert that he was bom 
 - ia 1568, and died in 161 5, aged 475 and th: authors of the Abrege de la Viedes Peintres fry he died in 1609, aged 46. 
 
VAN 
 
 J 6 9 r ] 
 
 VAN 
 
 His peculiar turn of mind made him fond of defigning religious fubjects j and for that 
 reafon he was principally engaged in grand v/orks for the churches and convents at Siena 
 and at Rome. To the latter of thofe cities he was invited by' Pope Clement VIII. and, 
 by order of that Pontiff, he painted in the church of St. Peter an incomparable defign, 
 reprefenting Simon the Sorcerer reproached by St. Peter j for which performance he 
 received the honour of knighthood. 
 
 This mafter had an excellent genius j his invention was fruitful and ready, his ftyle of 
 compofition truly fine, and his defign correct. His manner of colouring was bold, lively, 
 and beautiful; his penciling tender and delicate; and the airs of his heads were remarkably 
 graceful. The raoft capital works of Vanni are at Siena, Rome, Pifa, and Piftoia; among 
 which are mentioned a Crucifixion, a Flight into Egypt, the Wife Men offering to Chrift, 
 and the Marriage of St. Catherine, all of them efteemed admirable. 
 
 Ottavio VANNI. 
 Painted Hi/lory. 
 
 DIED 1643, AGED 60. 
 
 He was born at Florence, in 1583, and at firft was the difciple of one Mecatti, a 
 painter of very mean abilities, with whom he continued for four years with little advantage ; 
 but having travelled to Rome, he became the difciple of Aftafto Fontebuoni ; and befide 
 the inftruction which he received from that mafter, he took pains to ftudy the defigns of 
 Raphael, Buonaroti, and other eminent artifts ; by which he acquired a confiderable degree 
 of tafte and knowledge. However, notwithstanding his former improvement, as foon as 
 he returned to Florence he entered himfelf in the fchool of Paffxgnano, and lived with 
 him for many years ; not only being employed in painting his own original defigns, but 
 alfo painting in conjunction with that mafter. 
 
 Ottavio had great application, but not equal judgment; and frequently aiming at too 
 great a degree of delicacy, and likewife at too nice and exact an exprefiion, he touched' 
 his pictures too often over, and gave them an unpleafing hardnefs and heavinefs. 
 
 VANUCCHI, Vid. Sarto. 
 
 Lucas VANUDEN. 
 Painted Landfcape. 
 
 DIED l66o, AGED 65, 
 
 He was born at Antwerp, in 1595, and learned the art of painting from his father; but 
 he derived his chief excellence from a diligent obfervation of nature. Every hour that 
 was not employed at his eafel was fpent abroad in the fields, where he noticed, with curious 
 exactnefs, the variety of appearances perpetually occurring from the dawn to the evening 
 over the face of nature. He watched the different effects of light on different objects, 
 
 4 S 2 nor 
 
VAN 
 
 t 692 ] 
 
 V A R 
 
 nor fuffered any incident that might heighten his ideas to efcape his obfervation; not even 
 thofe inftantaneous beauties perceptible in the forms and colours of vapours and clouds, 
 which are loft almoft in the moment they are beheld with admiration. Thofe he fketched 
 on the fpot, and had luch a genius as enabled him to apply his obfervations happily in 
 his works j but he was frequently fo intent on his ftudies, that he fcarce allowed himfelf 
 time to work for his maintenance. 
 
 He had a tender, foft, delicate manner of painting in fmall, and had fufficient power 
 of his pencil to adapt his touch to thofe of his largeft fize; though it is allowed that the 
 exquifite pencil of Vanuden is principally feen in his fmalleft performances. His trees 
 are fo happily managed, as to appear almoft in motion; his ikies are clear, and beautifully 
 adapted to his fcenes ; and by his diftances he mewed an immenfe extent of country, as 
 often as his defign would admit of it. His compofition is always pleafing; his moft 
 minute figures are correctly defigned ; and his tints are the colouring of nature. 
 
 He is confidered as one of the moft delicate painters of landfcape that appeared in the 
 Low Countries; and it is the higheft commendation that can poffibly be given him, to fay 
 that Rubens not only approved, but admired his ftyle of painting, and often employed 
 him to paint the back-grounds of his pictures, which Vanuden adapted with fo much 
 judgment, that the whole feemed to be only the work of one mafter. 
 
 In the chapels belonging to the cathedral church at Ghent there are feveral noble 
 paintings of this mafter, which are efteemed his moft capital landfcapes ; . and in the 
 pofieflion of a private perfon in that city, there is an excellent picture, in which the 
 figures are inferted by David Teniers. 
 
 He had a brother, 
 
 Jacqjjes VANUDEN, 
 
 who was his difciple, and painted entirely in his manner ; but he was very far inferior to 
 Lucas, though fome of the paintings of Jacques are often pafled on the unfkilful for the 
 genuine works of his brother. 
 
 Louis d e VARGAS. 
 Painted Hijiory and Portrait, 
 
 J DIED I59O, AGED 62. 
 
 He was a Spanifh painter, born at Seville, in 1528, who being endowed with a very 
 happy genius, and being alfo ambitious to obtain all poflible improvement in the art of 
 painting, travelled to Italy, and fpent feven years at Rome, particularly ftudying the 
 works of Pierino del Vaga. When he imagined himfelf fufficiently qualified to commence 
 artift, having by great application acquired fomewhat of the elegance of tafte and compo- 
 fition of the Italian matters, he returned to his own country, and began to follow his 
 profefiion at Seville. But it foon appeared that he had not imbibed the true tafte of the 
 grand ftyle, nor was he thoroughly (killed in the beft principles of the artj for his paintings 
 
 could 
 
V A R 
 
 C 6 93 ] 
 
 V A R 
 
 could not ftand in competition with thofe of fome other artifts who were at that time 
 refident at Seville. 
 
 It rauft undoubtedly have been an inexpreflible mortification to Vargas, to find himfelf 
 publicly accounted inferior to thofe whom he expected to furpafs; but he made a prudent 
 ufe of that difcouragement, and returned again to Italy, where he fpent feven years more 
 with intenfe application, more accurately examining the peculiar excellencies of his 
 models, and endeavouring to imitate them with greater cxadtnefs. At length he was 
 amply rewarded for his induftry, by an improvement in his tafte, compofition, and freedom 
 of hand, as rendered him equal to the beft of his own time, and fuperior to moft of his 
 cctemporaries. 
 
 He painted with equal fuccefs in frefco and in oil, and on his return to Spain was • 
 immediately employed, and, preferably to all others, engaged in feveral grand works for 
 the cathedral, the archiepifcopal palace, and the convents; and he had the good fortune 
 to eftablifli his reputation by two capital compofitions, one of which represented Chrifr. 
 bearing the Crofs, and the other Adam and Eve; but the latter is accounted his mafter- 
 piece, and very juftly merited the applaufe it received. 
 
 He alfo painted a great number of portraits, though he did not appear fo excellent in 
 that ftyle as in hiftorical iubje&s. Neverthelefs he is highly celebrated for the portrait 
 of Donna Juana Cortez, Duchefs of Alcala, which was efteemed not much inferior to 
 the pencil of Raphael. In the collection of the Duke of Orleans, is to be feen one 
 picture by this mafter ; the fubjeel: is St. John in a fitting pofture, with a crofs in his 
 hand, drefTed in the garment of camel's hair, and the figure is larger than life. 
 
 Dario VARIOTARI, called Paduanino. 
 Painted Hljlory. 
 
 DIED I596, AGED 57. 
 
 He was born at Verona, in 1539, and was the difciple of Paolo Veronefe. He painted 
 in the manner of the Venetian fchool with extraordinary fuccefs, and was allowed to have 
 a lively and elevated genius; of which he afforded many inconteftable proofs in thofe 
 noble defigns which he executed in his native city, and in feveral churches and convents 
 in Italy. 
 
 He was as much diftinguifhed for his piety, as for his fingular merit in painting ; and 
 for both he was univerfally efteemed. 
 
 Alessandro VAROTARI, called Paduanino. 
 Painted Hijlory. 
 
 DIED 165O, AGED 60. 
 
 He was born at Verona, in 1590, the fon of Dario Varotari. The firft rudiments of 
 the art were explained to him by his father ; but he completed his ftudies under another 
 
 mafter, 
 
V A S [ 694 ] V A S 
 
 niafter, being fo unhappy as to be deprived of his inftrudtor while he was very young. 
 He imitated the ftyle of Veronefe, as Kls father had done before; but his colouring was 
 not comparable with that of Dario, though feveral of his pictures are to be feen in the 
 churches and choiceft collections of Italy. 
 
 In the church of St. Maria Maggiore, at Venice, is an excellent picture of this 
 matter's hand; it rcprefents fome legendary miracle of the Virgin, and is well compofed; 
 the figures are well grouped, and it is ingenioufly defigned, though incorrect. The heads 
 are in a fine tafte, the tone of colour is in general very agreeable, and the broad mattes 
 of light and fhadow have a noble effect. And in the Pembroke collection, at Wilton, is 
 a picture painted by Aleffandro Varotari^ of which the fubject is Herodias dancing before 
 Herod. 
 
 y 
 
 Giorgio VASARI. 
 
 Painted Hijlory and Portrait, 
 
 X>IED 1578, AGED 64. 
 
 He was born at Arezzo, in the territory of Tufcany, in 1 5 14, and received his earlieft 
 inftruction from a painter on glafs, called William of Marfeilles; but by Cardinal 
 Paflerini he was afterwards taken to Florence, where he defigned after the works of 
 Michael Angelo Buonaroti, Andrea del Sarto, and other great mafters, for three years. 
 
 Some time after Cardinal Hippolito de Medici brought him to Rome; and as the mind 
 of Vafari was filled with an extreme fondnefs for the nobler arts, he dedicated his whole 
 thoughts to the advancement of his knowledge; he ftudied every thing worthy of his 
 admiration, either in the antiques or the moderns, in fculpture, painting, or architecture. 
 It happened to prove of fingular benefit to Vafari, that Francelco Salviati accompanied 
 him to Rome in the train of the Cardinal his patron ; for thofe artifts aflbciated together 
 in all their ftudies, and when they fpent whole days in defigning after Raphael, Buonaroti, 
 and Balthafar of Siena, they, out of a cordial love to the art, devoted their evenings to 
 copy each other's defigns, and endeavoured by every method to promote their mutual 
 improvement. 
 
 By fuch a courfe of induftry and attention Vafari qualified himfelf for thofe various 
 undertakings in which he was afterwards engaged, and. which he always executed with 
 honour to himfelf and to the fatisfaction of his employers. In defign and invention he ihewed 
 himfelf to be a man of learning and genius; but by neglecting to make himfelf properly 
 acquainted with the true principles of colouring, his works were never in any high degree 
 of reputation. He is beft known as the writer of the Lives of the Painters, from Cimabue 
 to his own time, for which work the whole polite worldis moft defervedly indebted to him. 
 
 He executed a great number of his compofitions in frefco and in oil, for the churches, 
 convents, and alfo for the Duke's palace at Florence, moft of them being of a. large fize; 
 and for the churches at Rome, Bologna, Pifa, Venice, and Naples ; of which the figures 
 were from fix to eight cubits high. The works of Vafari are particularly recited and 
 defcribed by Sandrart. Antonio 
 
V A S 
 
 C <3 95 ] 
 
 ucc 
 
 Antonio Maria VASSALLO. 
 
 Painted Hi/lory, Portrait? and Animals. 
 
 He was born at Genoa, and placed as a difciple with Vincenzio Malo; by whofe 
 excellent precepts he acquired a good manner of defign, and a charming tone of colouring. 
 He was an univerfal painter, and equally fuccefsful in every branch of his art; in hiftory? 
 portrait, landfcape, animals, birds, fruit, and flowers ; all which fubjecls he reprefented 
 with extraordinary fweetnefs in his colour and handling, and with abundance of truth. 
 
 His pictures were in fuch efteem, that he was employed without intermiffion by foreigners 
 as well as his own countrymen; but by too clofe an application to his profelfion, and being 
 alfo of a melancholy turn of mind, he died in the bloom of life, exceedingly lamented. 
 
 Antonio VASSILACCHI, called Aliens e. ' 
 Painted Hijiory. 
 
 DIED 1629, AGED 73. 
 
 He was born in the Venetian territory, in 1556, and was the difciple of Paolo Veronefe, 
 As he had the double advantage of a very good genius, and an admirable inftructor, his 
 progrefs was remarkable; and in a few years he acquired as ex ten five a knowledge of the 
 art as he could poffibly derive from his mafter, and imitated the ftyle of Veronefe with 
 general applaufe. However, having afterwards fome jult caufe for rei ltment againft 
 Paolo, he quitted his manner entirely, and afTumed that of Tintoretto in its ftead. 
 
 Philip II. King of Spain, and Sigifmond, King of Poland, folicited him earneftly to 
 enter into their fervice ; but he declined the honours and emoluments prbpofed to him by 
 thofe Monarchs, and continued at Venice, where the Doge and the principal Nobility 
 refpected and employed him as long as he lived. 
 
 The general character given to this artift is, that he had a wonderful readinefs in 
 defigning, that his colouring is excellent, and that he was remarkable for the freedom and 
 fpirit of his pencil. In the Sala dello Scrotinio, at Venice, there is a capital painting of 
 Vaflilacchi; the fubjecl of it is the Taking of Tyre, and it has a noble effect, being 
 finely coloured, and very judicioufly difpofed. Alfo in the church of St. John the Jivan- 
 gelift, in the fame city, is preferved a piclure of St. James, which is admirably defigned 
 and executed; approaching very near to the works of Paolo Veronefe, in the air and turn 
 of the figures, as well as in the colouring. 
 
 Paolo UCCELLO, or Mazzochi. 
 
 Painted Birds , Animals? Landfcape? Perfpeclive? and Portrait. 
 
 DIED I432, AGED 83. 
 
 He was born at Florence, in 1349) and was the difciple of Antonio Venetiancf* 
 Though he painted a variety of fubje&s, yet he fhewed a peculiar delight in painting. 
 
 - 5 birds, 
 
u c c 
 
 [ 696 ] 
 
 U D I 
 
 birds, and for that reafon introduced them whenever it was poflible, in all his compo- 
 fitions; from which circumftance he was called Paolo *Uccello, and by that appellation is 
 generally known. 
 
 He ftudied perfpe&ive with infinite labour, till he found out a method of reducing it to 
 practice ; and for that purpofe fpent a great deal of time in making himfelf thoroughly 
 acquainted with the Elements of Euclid, in which he was aflifted by Giovanni Manetti, 
 an eminent mathematician. He is mentioned as one of the firft of the old artifts who 
 painted perfpedtive. 
 
 As his principal power confifted in defigning every fpecies of animals, he always fixed 
 on fuch fubjedts as might afford him an opportunity to introduce the greateft number, and 
 the greateft . variety ; fuch as the Creation ; the family of Noah entering the Ark, or 
 quitting it; and the general Deluge: and thofe fubjects he defigned with much truth and 
 expreffioni fo,#s to render his works very eftimable in that early age of painting. 
 1 He alfo defcribed frequently the battles of fierce and venemous animals, fuch as the 
 : engagements of lions with ferpents j in which fubje&s he exprefied the vehement rage 
 and fury of thofe creatures, with abundance of nature and fpirit ; and in the landfcape part 
 he ufually reprefented peafants, or fhepherdefles, watching their cattle, and", with the 
 appearance of fright or terror, beholding, or flying from the engagement. 
 
 He painted in diftemper and frefco, but confumed fo much of his time in the ftudy of 
 perfpedtive, that the profits of his works could fcarce preferve him from poverty : yet 
 he juftly may be allowed to have had conliderable merit, if we confider that the art of 
 painting was but in its infancy at the time in which he flouriflied. 
 
 Giovanni da UDINO. 
 Painted Hi/lory, Birds, Animals-, and.Grotefques. 
 
 DIED I564, AGED 70. 
 
 The real name of this painter, who was born at Udino, in 1494, was Giovanni Nanni ; 
 but he was called Giovanni da Udino, from the place of his nativity. His father, who 
 was much devoted to hunting, having obferved that his fon, who at leifure hours accom- 
 panied .him, took a delight in drawing the pictures of thofe animals which he purfued in 
 the chace, concluded that his genius inclined him to painting; and therefore he took him 
 to Venice, and placed him in the fchool of Giorgione, to learn defign and colouring. But 
 Giovanni, infpired with the accounts of the wonderful performances of Raphael, and 
 Michael Angelo Buonaroti, procured letters of recommendation from Domenico Grimani, 
 a friend of his father, to.Balthafar Caftiglioni, Secretary to the Puke of Mantua, who 
 introduced him to Raphael, and he was admitted as a difciple of that illuftrious artift. 
 
 Under fo great a mafter, he learned the true principles of the art; though, having been 
 originally inftru&ed by Giorgione, he was enabled more readily to obtain the approbation 
 pf Raphael; and in a fliort time fliewed himfelf uncommonly excellent in defign. and 
 
 .colouring. 
 
 * Ucccllo fignifies a bird. 
 
U D I 
 
 [ 697 J 
 
 U D I 
 
 colouring. He imitated, with gracefulnefs and eafe, thofe objects with which his fancy 
 was moft delighted, fuch as animals of all kinds, birds, quadrupeds and fifties, vafes, 
 mufical inftruments, landfcapes, and buildings ; and painted each of them with the utmoft 
 precifion, truth, and delicacy. 
 
 By many proofs of fuperior talents, he recommended himfelf fo effectually to Raphael, 
 that he appointed him to paint the organ and mufical inftruments in the celebrated pidure 
 of St. Cecilia. Thofe parts Giovanni executed to the extreme fatisfaction of his mafter ; 
 and particularly, as he with great fkill adapted his pencil fo happily to the other parts 
 which were painted by Raphael, that the whole feemed to be only the work of one hand. 
 
 About that time the ruins of the palace of Titus were cleared away: feveral curious 
 and almoft ineftimable antique ftatues were refcued from the rubbifh ; and many of the 
 ancient grotefque paintings, as well as ornaments in ftucco, were brought to light, which 
 appeared with aftoniftiing freflinefs and beauty. Thofe not only excited the admiration 
 of Giovanni, but engrofled his whole attention for a confidcrable time. The ftyle and 
 tafte of the paintings he knew how to imitate; but the compofition of the ftucco was not 
 to be found out, except with great labour and judgment. He therefore applied himfelf 
 induftrioufly to that difcovery j and after a variety of experiments on different kinds of 
 materials, found that the true antique Roman ftucco was a preparation of the whitefl 
 marble reduced to a fine powder, fifted carefully, and mixed with a proper quantity of the 
 whiteft lime ; which in every refpe<5r, anfwered all the purpofes of the ancient ftucco, being 
 as durable, as bright, and as beautiful, and in all probability exactly the fame. 
 
 Raphael, being at laft fully convinced that his difciple had difcovered and reftored the 
 art of compounding ftucco, which had been loft for many hundred years, employed him in 
 one of the galleries of the Pope's palace, where he finifhed the moft beautiful ornaments 
 in ftucco, and enriched the work with grotefque paintings, in the manner of the antiques. 
 The beft judges at Rome were aftonifhed at the perfection of his works, which were 
 univerfally allowed to furpafs the performances of the ancients, in the beauty of defign, in 
 elegance of tafte, in variety of invention, and in the agreeable wildnefs of imagination ; 
 and to be preferable to any of thofe decorations or paintings, which were at that time dif- 
 covered, either at the Colofleum, the baths of Diocletian, or any other places in Rome. 
 For, in all his grotefque defigns, the ornaments were fuited, with peculiar judgment, to the 
 animals reprefented; where he introduced birds, which he painted in an exquifite manner, 
 the ornaments were fruits of every kind, difpofed with inexpreflible grace; and in all his 
 other decorations, he was not only attentive to beauty, but to elegant propriety. But 
 although he feemed fuperior to all his cotemporaries, in defigning birds, fruits, flowers, 
 and alfo all forts of marine and terreftrial animals, yet, in hiftorical compolitions, he was 
 not equal to any of the difciples of Raphael. 
 
 One very famous work he finifhed for Pope Clement VII. in conjunction with Pierino 
 de Vaga, in the Vatican, which is fufEcient to convince pofterity that he pofTefled moft 
 extenfive powers in his profeflion. The work reprefents the Seven Planets ; the figures 
 defigned by Pierino; but all the ornaments of the compartments in ftucco, all the decorations, 
 
 4 T the 
 
U D I 
 
 C 698 J 
 
 ULF 
 
 the fymbols of thofe fabulous deities, the baflo-relievos, and the grotefque paintings, are 
 executed by Giovanni, and are admirably performed. 
 
 His numerous works at Florence, for the Menicean family; at Rome, for the Pope,, 
 under the direction of Raphael ; and in feveral parts of Italy, as well as at Udino; raifed 
 his reputation to the higheft pitch : but on the death of his beloved mafter, and of the Pope 
 his patron, he retired to his native city, determined to lay afide his pencil for ever. Yet^ 
 afterwards going on a pilgrimage to Rome, on account of the Jubilee, though obfcured in 
 the habit of a poor pilgrim, he was known by Vafari, and with the utmoft difficulty pre- 
 vailed on to work for the new Pope, Pius IV. 
 
 He died at Rome, where for fo many years he had been the object of general admiration j 
 and, in concurrence with his lateft requeft, was buried in the Rotonda, near his mafter 
 Raphael ; and having been infeparable in their lives, they were at their deaths as clofely 
 as poffible united. 
 
 Jakob Vander ULFT. 
 Painted Italian Sea-Ports^ Markets, and Perfpeclive Views* 
 
 He was born at Gorcum, about the year 1627; but the mafter by whom he was 
 inftructed is not mentioned. He painted excellently on glafs, as well as in oil ; and 
 although he certainly never had been in Italy, yet, by his fubjecls, one would imagine he 
 had fpent a great part of his life at Rome ; for he moft frequently painted views of Rome 
 and other cities of Italy, markets, proceflxons, and fea-ports, which he reprefented with 
 great appearance of truth and nature. 
 
 The defigns of other mafters were his only models ; he made fketches from them of the 
 nobleft remains of antiquity; the columns, arches, trophies, and elegant buildings, with 
 which objects he enriched his own defigns ; and it is a matter of doubt whether he could 
 have reprefented them better, if he had defigned them after nature on the fpot. He under- 
 ftood the principles of perfpeclive thoroughly, and by that means gave to his own compo- 
 fitions an appearance of grandeur and truth. However, it cannot but be allowed, that 
 whenever he had not the Italian deligners for his guides, the Flemifh tafte prevailed in 
 his pictures, as may be evident from obferving his views of the cities in his own country, 
 and his view of London bridge. And, although they are as well painted, and with as 
 good figures, vefiels, and boats, as are to be feen in any of his other works, yet have 
 they nothing equal to the elegance or grandeur of thofe views of the fea-ports of Italy, 
 which he had fketched from the defigns of other artifts, whofe ideas were more elevated. 
 
 As the knowledge of Vander Ulft in architecture and perfpeclive was very confiderable, 
 it enabled him toembellifh fuch fcenes as were naturallyunpleafant and cold, with additional 
 incidents that rendered them agreeable. He was remarkable for introducing a great 
 number of figures in all his pictures, which he difpofed judicioufly, defigned well, and 
 drefled them according to the modes and cuftoms' of different nations. 
 
 In the town-hall at Amfterdam there is a picture of this matter's painting, in which he 
 has reprefented a vaft crowd of people in feveral groupes j which fingle performance is 
 
 • 5 fufficient 
 
U R B 
 
 r 699 ] 
 
 U T R 
 
 fufficient to do honour to his memory. He alfo painted a very exact view of London 
 bridge, with the adjacent buildings; the river being crowded with boats, and thofe filled, 
 with figures. The whole was well coloured, and neatly finifhed, with great tranfparence, 
 and very exact perfpective. 
 
 Timoteo da URBINO. Vid. Timoteo, 
 
 Terenzio da URBINO, 
 Painted Hiftory. 
 died 1620. 
 
 This artift was a correct defigner, and a good painter; but he is not fo memorable for 
 any particular works of his own invention and compofition, as for a fingular dexterity and 
 art, which he practifed for many years with the greateft fuccefs. That art confifted in 
 his making pictures, which he himfelf had painted, appear to be very ancient originals of 
 fome of the moft celebrated mafters of Italy; by which he frequently deceived even good 
 judges. 
 
 He ufed to procure a very old panel of oak, and having painted on it a fubject fuitable 
 to his purpofe, which he ufually copied from others, accurately imitating the touch and the 
 colouring of his model, he diffufed a look of fuch antiquity over the whole, by fmoke, 
 varnifh, and fome unknown artificial management, that he impofed on moft of the con- 
 noifTeurs of his time. But that deception of others ended in his own undoing ; for having 
 impofed upon his patron and beft friend, Cardinal Montalto, by fuch a contrivance, and 
 fold to him a fpurious picture at an immenfe price, the fraud happened accidentally to be 
 detected, and he was defervedly covered with difgrace ; being alfo for ever deprived of the 
 protection and favour of his benefactor, and rendered an object of univerfal contempt. 
 
 Adrian Van UTRECHT. 
 
 Painted Birds, Fruit, Flowers, and Dead Game* 
 
 DIED 165I, AGED 52. 
 
 He was born at Antwerp, in 1599, and learned the art of painting in that city. For 
 fome time he painted peacocks, and other fowl, only for his amufement; but as foon as 
 they were feen, they were fo exceedingly admired, that he was encouraged and folicited to 
 purfue that kind of painting as his profeflion. 
 
 His general fubjects were fruit, birds, flowers, dead game, and objects of Hill life, in 
 which he always imitated and copied nature ; and he was not only correct in his drawing, 
 but his colouring fliewed all the truth, frefhnefs, and force of nature itfelf. Next to 
 Snyders, he was efteemed to be the beft: painter in that ftyle, in the Low Countries ; and 
 although he was extremely induftrious, yet he found it impofuble to finifli one half of the 
 pictures which were earneftly requefted of him. 
 
 4 T 2 This 
 
U T R [ 700 ] V E C 
 
 This mafter had a moft delicate and tender manner of penciling ; and gave an unufual 
 tranfparence to his colours. The King of Spain, who employed him for a confiderable 
 time, engroffed the greateft part of the works of Adrian, which hath occafioned their prefent 
 fcarcity, few of them being now offered to fale j and, when they are to be fold, they produce 
 very large prices. Sometimes, indeed, he painted his favourite objects in the compofitions 
 of other mafters ; and thofe pictures in which Van Utrecht had inferted any thing, were 
 always accounted abundantly more eftimable. 
 
 PlETRO DA VECCHIA. 
 Painted Hi/lory. 
 
 DIED 1678, AGED 73. 
 
 He was born at Vicenza, in 1605, and was the difciple of AlefTandro Varotari; but he 
 quitted the manner of that mafter, and adhered to the ftyle of Giorgione, which he preferred 
 to all others. The figures in his compofitions are of a large fize, and he always painted 
 with a ftrong body of colour ; fo that his carnations have a remarkable force ; and by his 
 fkill in the chiaro-fcuro, every figure, and every limb, apparently projects from the canvas. 
 
 No artift could poffibly imitate the work of another with more precifion, than he did 
 the paintings of Giorgione. The fame ideas, the fame ftyle of invention and compofition, 
 the fame ftrength of colour and manner of penciling, are obfervable in both. So nicely 
 and exactly fimilar to the pictures of Giorgione, are thofe of Vecchia, that even the moft 
 expert connoifTeurs have been frequently puzzled, to determine between the performances 
 of thofe mafters ; particularly as the pencil of Vecchia gave fuch a look of originality to 
 his imitations, that nothing like a copy appears in any part of them. 
 
 Sandrart, who was a great painter, and a good judge, freely confefles, that when the 
 Count Palatine of the Rhine, Charles Guftavus, fhewed him the picture of a foldier, boldly 
 painted, and finely relieved, and afked him by what mafter it might have been painted, 
 Sandrart, having furveyed it with all poffible attention, and examined it critically, was juft 
 going to pronounce his opinion that it was the work of Giorgione^ when he took notice of 
 the canvas appearing more new than it could have done if the picture had really been 
 painted by that mafter ; and had juft time enough to refcue himfelf from giving a wrong 
 judgment of the author. 
 
 The genius of this painter was, however, fomewhat bold ; and in the draperies of his 
 figures he was apt too much to indulge his own fancy. He was fond of inventing dreffes 
 which had a mixture of the ancient and modern ; and frequently the draperies were of 
 filk, fatin, and the richeft materials. At Venice, where he fpent the greateft part of his 
 life, the Doge and Senate employed him to paint in oil thofe hiftorical defigns which were 
 worked in Mofaic, in the church of St. Mark ; and in that church are to be feen two 
 very capital paintings of Vecchia j the one is a Crucifixion, and the other Chrift driving 
 the Money-Changers out of the Temple ; both of them highly admired, and accounted 
 very excellent performances. 
 
 2 TlTIANO 
 
VEC 
 
 [ 701 ] 
 
 VEC 
 
 Titiano VECELLI, Cavaliere, called TITIAN. 
 Painted Hi/lory, Portrait^ and Landfcape* 
 
 DIED 1576, AGED 96. 
 
 This illuftrious painter was born at the caftle of Cador, in Friuli, a province fubject 
 to the Venetians, in * 1480 (according to Vafari and Sandrart) ; but at ten years of age 
 he was conducted to Venice, and left under the care of an uncle, who was a perfon of 
 fome diftinction in that city. That guardian foon obferved the predominant inclination of 
 his nephew to painting, and therefore placed him as a difciple with Giovanni Bellini, who 
 at that time was in the higheft efteem. 
 
 By the inftructions of that mafter, and the ftrength of his own genius, the proficiency 
 of Titian was amazing ; and as he continued in that fchool for fome years, he imitated 
 the ftyle and manner of his mafter fo exactly, that his productions feemed aftonifhing to 
 all who beheld them. But, as Bellini had never ftudied the antique, and painted in a dry, 
 ftiff, and laboured ftyle, Titian unavoidably adopted it ; though even in that ftyle he 
 diftinguiftied himfelf extremely, in feveral portraits, landfcapes, and hiftorical defigns. 
 However, he made nature his principal ftudy, and imitated it faithfully and happily, not 
 only in the tints of his carnations, when he painted figures, but even in the local colours 
 of every inanimate object which he introduced in his compofitions; and as ^he fpent near 
 ten years in that ftudy, he by that means was enabled to give an uncommon character of 
 truth to whatever he painted. 
 
 But as foon as Titian had feen the works of Giorgione, whofe manner appeared to him 
 abundantly more elegant, and lefs conftrained than that of Bellini, he determined to quit 
 the ftyle to which he had fo long been accuftomed, and to purfue the other that recom- 
 mended itfelf to him, by having more force, more relief, more nature, and more truth. 
 Some authors affirm, that he placed himfelf as a difciple with Giorgione ; yet others only 
 fay, that he cultivated an intimacy with him; but it is undoubtedly certain, that he ftudied 
 with that great mafter; that he learned his method of blending and uniting the colours; 
 and practifed his manner fo effectually, that feveral of the paintings of Titian were taken 
 for the performances of Giorgione; and then his fuccefs infpired that artift with an 
 invincible jealoufy to Titian, which broke off their connexion for ever after. 
 
 The reputation of Titian rofe continually; every new work contributed to extend his 
 fame through all Europe ; and he was confidered as the principal ornament of the age in 
 which he flourifhed. And yet Sandrart obferves, that amidft all his applaufe, and conftant 
 employment at Venice, his income and fortune were inconfiderable ; and he was more 
 remarkable for the extenlivenefs of his talents, than for the affluence of his circumftances. 
 But when his merit was made known to the Emperor Charles V. that Monarch knew 
 
 how 
 
 * De Piles, the Chronological Tables, and the authors of the Abrege de la Vie des Peintres, fix the birth of Titian 
 in 1477, and make him 99 at his death: but as Giorgione wds confefledly older tlun Titian, and was born in 1478, I 
 have prefened the joint authorities of Vafari and Sandrart, who affirm that Titian was born in 1480... 
 
V E C 
 
 [ 702 ] 
 
 V E C 
 
 how to fet a juft value on his fuperior abilities ; he enriched him by repeated bounties, 
 allowed him a confiderable penlion, conferred on him the honour of Knighthood, and, 
 what was ftill more, honoured him with his friendfhip. He painted the portrait qf that 
 benefactor feveral times ; and it is recorded by Sandrart, that one day, while the Emperor 
 was fitting for his picture, a pencil happening to drop from the painter, he ftooped, took 
 it up, and returned it, obligingly anfwering to the modeft apology of the artift, (who 
 blufhed at the condefcenfion of fo great a Monarch) that the merit of a Titian was 
 worthy of the attendance of an Emperor. 
 
 By the Cardinal Farnefe he was invited to Rome, where he painted an admirable portrait 
 of the Pope, at full length ; as alfo many hiftorical fubjects, taken from facred and 
 fabulous hiftory, and a great number of portraits ; every Prince, and perfon of rank, 
 exerting themfelves ambitioufly to procure fome of his works. 
 
 While he was engaged at the Pope's palace of Belvedere, Michael Angelo Buonaroti 
 and Vafari went to vifit him; and on feeing a picture of Danae which Titian had juft 
 finifhed, Buonaroti, having given the moft deferved commendation to the real perfections 
 of that picture, lamented that the Venetian artifts attended fo little to defigning ; for, if 
 Titian had ftudied the antique, as accurately as he before had ftudied nature, he mufthave 
 been abfolutely inimitable; becaufe the perfection of colouring would have been rendered 
 ftill more lovely, by being united with perfection of defign. 
 
 The excellence of Titian was not fo remarkably apparent in the hiftorical compofitions 
 which he painted, as in his portraits and landfcapes, which feem to be fuper ior to all 
 competition; and even to this day many of them preferve their original beaut) being as 
 much the admiration of the prefent age as they have dsfervedly been of the ages pan:. 
 
 It is obferved of Titian, by moft writers, that in the different periods of his life he had 
 four different manners; one, refembling his firft inftructor Bellini, which was fomewhat 
 ftiff ; another, in imitation of Giorgione, more bold, and full of force. His third 
 manner was the refult of experience, knowledge, and judgment, beautifully natural, and 
 finifhed with exquifite care, which manner was peculiarly his own ; and in thofe pictures 
 which he painted between the years of approaching old age, and his death, may be noticed 
 his fourth manner. His portraits were very differently finifhed in his early, and in his 
 latter time, according to the teftimony of Sandrart. At firft he laboured his pictures 
 highly, and gave them a polifhed beauty and luftre, fo as to produce their effect full as 
 well when they were examined clofely, as when viewed at a diftance ; but afterwards, he 
 fo managed his penciling, that their greateft force and beauty appeared at a more remote 
 view, and they pleafed lefs when they were beheld more nearly. So that many of thofe 
 artifts who ftudied to imitate him, being mifled by appearances which they did not 
 fufficiently confider, have imagined that Titian executed his work with readinefs and a 
 mafterly rapidity ; and concluded that they fhould imitate his manner moft effectually, by 
 a freedom of hand and a bold pencil. Whereas, in reality, Titian took abundance of pains 
 to work up his pictures to fo high a degree of perfection ; and the freedom that appears 
 in the handling was entirely effected by a fkilful combination of labour and judgment. 
 
 It 
 
V E C [ 703 ] V E C 
 
 It cannot be truly affirmed, that Titian equalled the great matters of the Roman fchool 
 in deiign, but he always took care to difpofe his figures in fuch attitudes as fhewed the 
 molt beautiful parts of the body. His tafle in defigning men was not generally fo correct 
 or elegant as it appeared in his boys and female figures ; but his colouring had all the 
 look of real flefh ; his figures breathe. He was not fo bold as Giorgione, but in tendernefs 
 and delicacy he proved himfelf much fuperior to him and all other artifts. The expreflion 
 of the paflions was not his excellence, though even in that refpect many of his figures 
 merited the juflxft commendation ; but he always gave his figures an air of eafe and dignity. 
 His landfcapes are univerfally allowed to be unequalled, whether we confider the forms of 
 his trees, the grand ideas of nature which appear in his fcenery, or his diftances, which 
 agreeably delude and delight the eye of every obferver ; and they are executed with a light, 
 tender, and mellow pencil. He learned from nature the harmony of colours ; and his tints 
 feem aftonifhing, not only for their force, but their fweetnefs ; and in that refpect, his 
 colouring is accounted the ftandard of excellence to all profeiTors of the art. 
 
 De Piles remarks, that as the colouring of draperies affords a painter an opportunity of 
 fhewing all his fkill in the chiaro-fcuro, Titian made ufe of that artifice in moll of his 
 pictures ; becaufe he was at liberty to give his draperies what colour he thought moft 
 proper, either for making his ground, for fpreading light, or for characterifing objects by 
 comparifon. It was the cuftom of this great mafter frequently to repeat the fame fubject, 
 fometimes by his own pencil, and often by the hands of his difciples, who carefully copied 
 them ; yet he always re-touched them, adding only a back-ground, or fome trifling 
 alteration, by which management they had the look of originals, and in all probability 
 were very little, or perhaps in no degree inferior. 
 
 It would prove almoft an endlefs talk to enumerate the variety of works executed by 
 this illuftrious artift, at Rome, Venice, Bologna, and Florence, as well as thofe which are 
 to be feen in other cities of Italy, in England, Spain, Germany, and France; but there 
 are two which are mentioned as being exceedingly capital. One is a Laft Supper, 
 preferved in the Refectory at the Efcurial in Spain, which is inimitably fine ; the other is 
 at Milan, reprefenting Chrift crowned with Thorns. The principal figure in the latter 
 has an attitude full of grace and dignity, more than mortal, and the countenance fhews a 
 benevolence and humility, combined with dignity and pain, which no pencil but that of 
 Titian could fo feelingly have defcribed. It is admirably coloured, and tenderly and 
 delicately penciled ; the heads are wonderfully beautiful, the compofition excellent, and 
 the whole has a charming effect: by the chiaro-fcuro. 
 
 Francesco VECELLI. 
 
 Painted Hijiory and Portrait. 
 
 He wasbornatFriuli,in 1483, the younger brother of the celebrated Titian, by whom 
 he was inftructed in the art of painting; but before he commenced artift, though extremely 
 
 well 
 
V E C 
 
 [ 7°4 ] 
 
 V E L 
 
 well qualified to appear with reputation in the profeflion, he engaged in a military life, in 
 which he continued till peace was reftored in Italy. He then went to his brother Titian 
 to Venice, and refumed the pencil ; and being employed to paint feveral altar-pieces for 
 churches, and a few portraits for his friends, he proved himfelf worthy of being the 
 difciple, as well as the brother of Titian. 
 
 Such promifing talents ferved to fow the feeds of jealoufy in the breaft of his brother, 
 while they promoted his own reputation ; and Titian, dreading a powerful rival and 
 competitor in Francefco, contrived artfully to turn his thoughts from painting in the ftyle 
 which he himfelf purfued, and perfuaded him to employ himfelf in adorning the infides of 
 rich cabinets, with fmall hiftorical fubjects, and pieces of architecture, for which at that 
 time there was a great demand. 
 
 Some of thofe cabinets have reached our time ; and, being miscalled the work of the 
 famous Titian, they have been eftimated at an incredible price, and often fold for a large 
 fum; though the paintings are certainly only by Francefco Vecelli, who in every refpect 
 was remarkably inferior to his brother. 
 
 Horatio VECELLI. 
 
 Painted Portrait and Hi/lory. 
 
 DIED I579. 
 
 He was the fon and difciple of Titian, born at Venice, and painted fome portraits 
 which might ftand in competition with thofe of his father's hand. He likewife painted 
 hiftory, in concurrence with Paolo Veronefe and Tintoretto, in the palace of the Doge, at 
 Venice ; particularly the reprefentation of a battle, which for feme time was afcribed to 
 Titian. 
 
 He travelled with his father to Rome and Germany, and was much efteemed for his 
 extraordinary merit; but after the death of Titian, finding himfelf in very ample circum- 
 ftances, he devoted more of his hours to pleafure than to painting; and although he 
 outlived his father but a few years, yet fome time before his death, which happened in the 
 vigour of his years, he had confumed the greateft part of that wealth which had been 
 honourably acquired by his father, in the ridiculous purfuit of the philofopher's ftone. 
 
 Don Diego VELASQUEZ, de Silva. 
 Painted Portrait, Hi/lory, Conversations, and Land/capes, 
 
 DIED l66o, AGED 66. 
 
 He was born at Seville, in 1594, and at firfl: was inftrucled by Francifco Herrera, 
 called the old; but afterwards became the difciple of Francifco Pacheco, an artift of 
 confiderable diftinction in that city. As Velafquez had received a polite education in 
 moft branches of literature, before he applied himfelf to painting, and as he alfo poffeffed 
 
 a very 
 
V E L 
 
 C 7-5 3 
 
 V E L 
 
 ?» very happy genius, his progrefs in the fchool of Pacheco was remarkable, and he foon 
 gave manifeft proofs of his abilities. He ftudied diligently after nature, and painted 
 birds, beafts, fifties, and landfcapes, as they occurred, and defigned them with fuch truth 
 and exactnefs, that his performances rofe into high efteem. 
 
 His moft favourite fubjects, at firft, were of the low kind, fuch as taverns, kitchens, 
 converfations, and perfons feafting ; and thofe he executed with a bold pencil, and uncom- 
 mon tints of colour, in a ftyle peculiar to himfelf, having always nature for his director. 
 But Pacheco having procured fome pictures of the Italian mafters, the fight of them 
 infpired Velafquez with nobler ideas ; and being particularly charmed with the colouring 
 of Caravaggio, he made him his model, and his. fuccefs in that ftyle anfwered his moft 
 fanguine expectations. 
 
 Having fpent five years under Pacheco, and finding himfelf fufficiently qualified to fet 
 out as an artift, he went to Madrid, where he received great encouragement, and had an 
 opportunity of improving himfelf ftill more by viewing the paintings in the Efcurial, and 
 in the palaces of the Nobility. At length he had the good fortune to procure the patronage 
 of the Duke D'Olivarez, favourite of Philip IV. and the portrait which he painted of 
 that Grandee being fhewn at Court, was fo generally applauded, that it obtained him the 
 royal favour, and he was appointed principal painter to the King of Spain, with an 
 honourable penfion, and an apartment in the palace. 
 
 While he was in that ftation, Rubens arrived in Spain; and having vifited Velafquez, 
 and confidered his works, he conceived a moft friendly affection for him on account of his 
 talents ; and, knowing that it would be of infinite advantage to that artift to have a more 
 extenfive acquaintance with the Roman and Venetian tafte of defign and colouring, he 
 recommended it to him to fpend fome time in Italy. Velafquez, convinced of the fincerity 
 and probity of Rubens, as well as of his judgment, followed his advice, and travelled to 
 Venice and Rome : at the former he copied the works of Titian, Tintoretto, and 
 P. Veronefe ; and at the latter ftudied the antiques, the works of Raphael, Buonaroti, and 
 the Caracci's ; by which means he acquired fuch an improvement of tafte, correctnefs, 
 compofition, and colouring, as placed him at the head of his profeffion. 
 
 At his return to Spain, he was received with every mark of efteem by the King, and 
 applaufe by the public; and having finifhed a noble defign of the Crucifixion for the 
 convent of St. Placidia, the whole Court had an inconteftable evidence of his merit, and 
 the improvement he had obtained, by ftudying the fineft productions of art and genius 
 in Italy. 
 
 As Philip IV. had determined to procure the beft collection poflible of antique ftatues, and 
 the works of the greateft mafters of Italy, he commiffioned Velafquez to choofe and purchafe 
 the moft curious, and alfo to copy fuch celebrated paintings as he found unpurchafeable. 
 During that progrefs, he painted the portrait of Innocent X. and moft of the Cardinals 
 and Princes at Rome ; and was treated with the utmoft diftinction and honour, as long 
 he continued in that city. He had the happinefs to enrich his own country with many 
 admirable curiofities of ancient and modern artifts; and adorned it alfo with a number 
 
 4 U of 
 
V E L 
 
 t 7°6 ] 
 
 V E N 
 
 of his own works, in portrait and hiftory. The compofitions of Velafquez were remarkable 
 for ftrong expreffion, for a freedom of pencil, for a fpirited touch, and fuch a tone of colour 
 as almoft equals nature itfelf. The moft capital performance of this eminent mailer, is 
 the hiftorical reprefentation of the expulfion of the Moors by Philip III. which is in thej,: 
 grand falon at Madrid. 
 
 VENETIANO. Vid.. Sebastian del Piombo». 
 
 Anton i o VENETIANO. 
 Painted Hijlory and Portrait* 
 
 DIED I384, AGED 74. 
 
 He was born at Venice, in 13x0, and was a difciple of Agnolo Gaddi; but furpaffed 
 him in many refpects, being accounted one of the beft painters of his time. At Florence 
 and Pifa he performed feveral works which were univerfally admired, as he likewife did 
 in his native city, and other parts of Italy j and rendered himfelf efteemed not only for his> 
 fingular merit in his profeffion, but on account of. his other accomplimments. 
 
 He was correct in his defign, and had a lively imagination; the attitudes of his figures 
 were natural and becoming; the airs of his heads were graceful and full of variety; and 
 his expreffion was well adapted to the characters and actions of his figures. The moft 
 celebrated painting of this mafter is at Florence, reprefenting the miracle of the loaves 
 and fifties, in which he has given a divine expreffion to the air, countenance and attitude 
 of our Saviour, and a look that amiably fliews the companion he felt for the multitude 
 around him. 
 
 Dqmenico VENETIANO. 
 Painted Hijlory. 
 
 DIED I476, AGED 56. 
 
 He v/as born at Venice, in 1420, and was the difciple of Antonello da Meffina ; from 
 Whom he learned the art of painting in oil, at that time known in Italy only by Antonello, 
 as the fecret had been communicated to him alone by John Van Eyck, the original 
 difcoverer. 
 
 He painted feveral pictures at Loretto and Florence, that were exceedingly admired ; 
 but at the latter city he connected himfelf unhappily with Andrea del Caftagno, who 
 invidioufly and treacheroufly murdered him while he was ferenading his miftrefs, and 
 accompanying the lute with his voice. That deteftable action was committed by Andrea, 
 partly that he might preferve the fecret of painting in oil from any other artifts; but as 
 much out of envy, on obferving the works of Domenico abundantly more commended 
 than his own. 
 
 Octaviusj 
 
VEN 
 
 [ 7^7 ] 
 
 VEN 
 
 Octavius, or Otho VENIUS, or Van Veen. 
 
 Painted Hlflory and Portrait. 
 DIED 1634,- AGED 78. 
 
 He was born at Leyden, in 1556; and his parents, who were perfons of diftinction, had 
 him carefully educated in every branch of polite literature ; but he was inftructed in 
 defign by Ifaac Nicholas, and in painting by John Van Winghen. Being compelled to 
 leave his own country on account of the troubles, and retire to Liege to purfue his ftudies, 
 he gained the efteem of Cardinal Groolbeck by his perfonal merit; and that prelate 
 obferving the appearance of excellent talents in Otho, particularly in regard to painting, 
 encouraged him to perfect his ftudies at Rome ; and in fo earneft a manner recommended 
 him to feveral of his friends, that the Cardinal Maduccio entertained him in his palace. 
 
 On his arrival at Rome, he placed himfelf as a difciple with Frederigo Zucchero, 
 a mafter of very great eminence; and, under his guidance, not only practifed in 
 private, but applied himfelf to defign after the antiques, and to copy the moft admired 
 paintings of the beft artifts. Having thus employed feven years in conftant attention to 
 his improvement, he acquired a delicate manner of penciling, an agreeable ftyle of colouring, 
 and fuch a knowledge of the chiaro-fcuro, as diftinguifhed him above all the painters of 
 his time. For, by the folidity of his judgment, he penetrated into the true principles of 
 that refined part of his art; he reduced thofe principles to practice; and was the firft who 
 explained to the Flemifh artifts the doctrine of lights and ftiadows, which his difciple 
 Rubens afterwards fo thoroughly comprehended, and carried to fo great a degree of per- 
 fection. 
 
 He was extremely carefTed by the Emperor, the Duke of Bavaria, the Elector of 
 Cologne, and the Prince of Parma, governor of the Netherlands; and having painted a 
 portrait of the latter, it procured him the honoifr of being employed in the fervice of that 
 Prince, and eftablifhed his reputation through the Low Countries. 
 
 Venius had a lively and fertile invention ; his drawing was generally correct, and parti- 
 cularly fhewn in the extremities of his figures. The airs of his heads were not without 
 grace; his draperies had an eafy flow, and they were fo well caft as to give a certain 
 dignity to his figures. The principal works of this mafter are to be feen in the churches 
 of Flanders. In the cathedral at Antwerp is preferved a Laft Supper, efteemed an excel- 
 lent performance ; in the parifh church of St. Andrew is an altar-piece, reprefenting the 
 Martyrdom of that Apoftle ; and in the refectory of the Abbey of St. Vinox is a picture 
 of Mary Magdalen anointing the feet of our Saviour, 
 
 He had a daughter, named 
 
 Gertrude VENIUS, or Van Veen, 
 
 Who was born at BrufTels, and painted portraits and hiftory, in the ftyle and manner 
 of her father, with very great fuccefs; her colouring being clear and lively, and her 
 touch delicate. 
 
 4U2 Mar cello 
 
YEN 
 
 C 708 J 
 
 V E R 
 
 Mar cello VENUS T I, called Mantuano. 
 
 Painted Hijiory, 
 
 DIED I576, AGED 6l. 
 
 He was born at Mantua, in 15 15, and proved an honour to the fchool of Pierino del 
 Vaga, to whom he was a difciple. His merit was fo extraordinary that he aflifted his 
 mafter in many of his moft grand compofitions at Rome and Florence; and his own 
 works were exceedingly efteemed by Michael Angelo Buonaroti. The Cardinal Farnefe 
 employed him to copy the celebrated picture of the Laft Judgment, allowed to be the 
 nobleft production of Buonaroti's genius; and that copy was greatly commended, even 
 by the painter of the original. 
 
 Few of the churches or chapels at Rome were without fome of the paintings of Venufti^ 
 either in frefco or in oil; for he was exceedingly admired for the elegant tafte of his defign, 
 for the grandeur of his compofitions, for the beauty of his colouring, and the neatnefs of 
 bis finifhing. 
 
 Henry VERB RUG GEN, or Te.rbruggen. 
 Painted Hijiory. 
 
 * DIED 164O, AGED 52. 
 
 He was born at Overyflel, in 1588, and placed as a difciple under Abrahem Bloemart;, 
 but being defirous to improve himfelf by ftudying the works of thofe who were confefledly 
 moft eminent in his profeffion, he travelled through feveral parts of Italy, and fefided for 
 ten years at Rome. His ftudies in that city were attended with fuccefs, and he painted 
 many altar-pieces for the churches and convents, which are evident proofs of the noble 
 tafte in which he compofed his fubjects, and the freedom and firmnefs of his execution. 
 
 In the principal church at Naples there is a large altar-piece, much admired for the 
 goodnefs of the defign, 2nd alfo for the colouring; and, contrary to the rule of the 
 Flemifh mafters, he did not put his name to that picture, concluding that his ftyle and 
 pencil were at that time fo generally known, that his name was unneceflary. There is 
 alfo at Middleburgh an extraordinary fine picture by this mafter, reprefenting an enter- 
 tainment at dinner, with figures as large as life ; which being fhewn to Rubens, that 
 great man, to the honour of Verbruggen, commended his works above all thofe whidi. 
 he had feen in his progrefs through the Low Countries. 
 
 Gaspard Peter VERBRUGGEN. 
 
 Painted Flowers. 
 
 died 1720, aged 52-. 
 
 He was born at Antwerp, in 1668, and, under the direction of Peter Verbruggen, 
 became a confiderable artift. He fettled at the Hague, where his reputation procured 
 
 him 
 
 * Sandrart and other writers agree that Verbruggen died in 1640, aged 52 ; and yet Defcamps fays he' died in 
 1629, aged near 42, which feemstobe amiftake. 
 
V E K 
 
 t 7°9 J 
 
 V E R 
 
 Rim a favourable reception ; and aflbciated in that city with Matthew Terweften, a painter 
 of hiftory, whofe works were in great efteem. Terweften painted the figures in feverai 
 grand compofitions, and Verbruggen painted the flowers and other decorations. 
 
 This painter had an unufual readinefs of hand, and an expeditious manner of working, 
 which contributed to enrich him ; but when he returned to Antwerp, he devoted moft of 
 his time to company and amufements, and painted moftly at night. By that means his 
 latter pictures have not the real merit of his earlier works, having nothing to recommend 
 them but the freedom of penciling, and a tone of colour that had more of brilliancy than 
 of truth and nature. 
 
 In his ftyle he refembled Baptift Monnoyer more than Van Huyfum. His manner of 
 painting flowers in cielings and falons was truly grand; his colouring and grouping of 
 the objects fhewed extraordinary art and judgment; and his touch was eafy, free, and 
 well adapted to that kind of painting, as it fhewed a lightnefs of hand without labour. 
 
 Giovanni Mario VERDIZZOTTO. 
 Painted Landfcapes. 
 DIED l600, AGED 75. 
 
 He was born at Venice, in 1525, and was the difciple of Titian; who, obferving the 
 genius and capacity of his pupil to be capable of any improvement, and alfo difcerning 
 the amiable qualities of his mind, acquired by an excellent education, loved him, and 
 treated him as if he had been his own fon. He explained to him every principle of the 
 art that might conduce to his advantage, and took all poflible pains to render him eminent 
 in his profeflion. Nor was Titian difappointed in his expectations; for Verdizzotto 
 ihewed him every mark of refpect and affection, as if he had been really his parent, and 
 acted as his fecretary whenever he had occafion to correfpond with Princes or perfons of 
 high nobility. 
 
 His favourite fubjects were landfcapes, which he defigned and painted in an admirable 
 ftyle, very much in the manner of his mafter. His pictures were ufually of a fmall fize, 
 but they were excellently coloured, and enriched with figures that were delicately penciled^ 
 
 Simon VERELST. 
 Painted Fruity Flowers^ and Portrait* 
 
 DIED I7IO, AGED 46. 
 
 He was born at Antwerp, in 1664, and ftudied after nature all thofe fubjects which he 
 chofe to paint, till he became very eminent, as well for the elegance of the objects which 
 he felected, as for hisexquifite manner of finifhing them. 
 
 He had already acquired confiderable reputation in his own country, when the profpect 
 ©f advancing his fortune induced him to vifit England j and his fuccefs was almoft incredible. 
 
 His 
 
V E R 
 
 f 7™ ] 
 
 TEH 
 
 His works very foon came into vogue; they were exceedingly admired, and fold for greater 
 prices than had ever been given in London, for any compofitions in that ftyle of fruit and 
 flowers. He had abundant vanity, and he found that vanity abundantly gratified, not only 
 by the efteem in which his paintings were held, but by the compliments of poets, par- 
 ticularly by thofe lines which were written by Prior. 
 
 It is faid that the Duke of Buckingham prOpofed to him a fcheme for adding to his 
 reputation and fortune, by painting portraits ; though the advice was given by the Duke, 
 more out of an inclination to mortify Verelft, than to afford him any new incentive ta 
 his pride, as he concluded that the vanity of the painter would influence him to undertake 
 that branch of his profeffion which was fuperior to his fkill. The Duke fat to him to try 
 the experiment, and Verelft took pains to embellifh the portrait with fruit and flowers j but 
 as foon as it was exhibited, though it appeared to be highly laboured, the whole compofition 
 was very juftly ridiculed. And yet that manner of Verelft, which was at firft fo defervedly 
 decried, became in a fhort time fo fafhionable, as even to leiTen the number of the employers 
 of Kneller ; and he was paid for one half-length above an hundred pounds fterling. 
 
 As to his flower and fruit fubjects, he handled them in a charming manner, and gave 
 them force and relief by a judicious management of the chiaro-fcuro. He painted his 
 objecT:s with great truth and refemblance of nature, and his colouring was frefh ; but as to 
 his portraits, they were not much to his honour.; though he finifhed them as highly as he, 
 ;dixl his flowers, which he always took care to introduce in every portrait. 
 
 Herman, or Harman VERELST. 
 tainted Htftory^ Fruity and Flowers. 
 died 1700. 
 
 He was the elder brother of Simon Verelft; and the fubje£h he chofe were painted in an 
 agreeable manner, and well coloured. He ftudied for fome years at Rome, and refided at the 
 Emperor's Court at Vienna, till it was befieged by the Turks, in 1683 ; and being on that 
 occafion under a neceflity of leaving that country, he went to fettle in England, where he 
 ipent the remainder of his life. 
 
 Cornelius VERELST. 
 
 Painted Fruit and Flowers. 
 born in 1667. 
 
 It is generally thought that he was a brother to Simon; and it is moft probable that he 
 was his difciple, as he painted the fame fubjedts, and his colouring and handling were very 
 fimilar. The fuccefs of his brother in England was undoubtedly his inducement to fettle 
 in London, where he found great encouragement; but as the general tafte for fuch fubjects 
 as he painted has for fome years fubfided, his pictures at this day are held in no great 
 .•efteem, and produce but low prices at public fales. 
 
 £ Made- 
 
V JE R 
 
 C 721 1 
 
 Ma demoiselle VERELST, 
 
 Painted Hi/lory and Portraits, 
 BORN in 1680. 
 
 This paintrefs was niece to Simon Verelft, and was taught the art of painting by her 
 father; but afterwards lived entirely with her uncle, who gave her the beft inftructions 
 in his power for her improvement. She had an excellent education, was a fine performer 
 on feveral inftruments of muiic, and fpoke and wrote the German, Italian, and Latin, the 
 Englifh and French languages, with fluency and elegance. 
 
 She painted portraits and hiftory with genius and fpirit, and was admired for the delicacy 
 of her touch, and the neat manner of her finiftiing. Her portraits generally were of 
 a fmall fiz,e; and me was accounted to defign her figures with more correctnefs than any 
 female artift of her time. She gave her portraits a fine expreflion, not only in refpect of' 
 the features, but alfo of the mind of her models ; and thofe who poflefs her works hold 
 them in the higheft efteem. - 
 
 Adrian VERDOEL. 
 
 Painted Hijiory, 
 DIED 1684, AGED 64. 
 
 This artift was born at a village on the Meufe, about the year 1620, and became the 
 difciple of Rembrandt; in whofe fchool he made a considerable figure, and fet out in his 
 profefiion with a great deal of credit. 
 
 He always endeavoured to imitate the ftyle and tafte of his mafter, and aimed at fome- 
 what grand in his compositions of hiftorical fubjects ; but his works fufficiently fhew that 
 he wanted an elevation of thought adequate to the defigns he undertook to execute. He 
 was accounted rather fuperior to his mafter in invention, and in fome refpects to be a better 
 defigner; yet he was far inferior to him in his colouring and handling. Befides, his 
 figures are often incorrect, his manner of painting is generally too black ; there is fcarce 
 any, even the fmalleft appearance of grace or elegance in his figures; and his expreftion is 
 very moderate. However, fome of his pictures have a competent mare of merit in the 
 difpofition, in the freedom and fpirit of his pencil, and in the tranfparence of his colours. 
 
 For fome years he painted with good fuccefs ; but in his advanced age he quitted the 
 pencil entirely, and became a dealer in pictures. At this day his pictures are not in much 1 
 efteem. 
 
 .... VE REND A EL. 
 
 Painted Fruit and Flowers. 
 
 He was born at Antwerp, in 1659, and in that city learned the art of painting; but 
 the mafter by whom he was inftructed is not afcertained* He employed his talents in 
 
 painting 
 
V E R 
 
 I 7" ] 
 
 V F. J£ 
 
 painting fruit and flowers, which he ftudied after nature, and exerted himfelf alfo In 
 obferving the works of thofe matters who were moft eminent in that ftyle ; by which 
 means his reputation was very foon fpread through the Netherlands, and from thence 
 through moft parts of Europe, as he mewed both genius and judgment in his compofitions, 
 and executed every fubject in a mafterly and delicate manner. 
 
 Sometimes he introduced objects which he had imitated from Mignon, but ufuallyfuch 
 only as he copied from nature; yet wherever he collected his fubjects, they were delicately 
 chofen, reprefented with exact truth and nature, and exquifitely finiflied. By a noted 
 Dutch* writer he was cenfured as being tedious and fingular; but the Angularity of which 
 Verendael was accufed, arofe from his having his whole thought and attention totally 
 occupied by the love of his profeflion; and if he feemed tedious in finifhing his worksj 
 it was no more than what feemed abfolutely requifite to give them that luftre and neatnefs 
 for which they were remarkable. 
 
 While he was alive his pictures were extremely coveted, and carried abroad to moft parts 
 of Europe, and to this day they maintain their character and efteem. He was fo curious, 
 and apprehenfive of his paintings being injured by duft or other accidents, that whenever 
 he had finiflied a flower, he guarded it carefully by a cover of paper. Next to Mignon 
 and Van Huyfum, his merit renders him moft worthy of commendation; nor in the 
 neatnefs and delicacy of his pictures is he furpafled by any of the Flemifli mafters. 
 
 •Tobias VERHAECHT. 
 
 Painted T.andfmpp ntid /IrchiteElure. 
 DIED 163I, AGED 65. 
 
 He was born at Antwerp, in 1566, and diftinguiflied himfelf as an excellent painter of 
 landfcape; in which, though the ftyle, the tafte of defign, and the distribution of the 
 parts, were very peculiar, yet were they exceedingly natural and pleafing, as well as 
 elegant ; infomuch that even Rubens, who was a moft admirable painter of landfcape, 
 ufed often to fay that Verhaecht was his firft and beft inftructor in that branch of his art. 
 
 His fites were generally well chofen, his fcenes agreeable; and, by a ikilful method of 
 managing the aerial perfpective, he opened a large extent of country, deluding the eye to 
 a very remote diftance, by interfperfed hills, rocks, mountains, and well broken grounds. 
 The forms of his trees were loofe and natural; the ruins and pieces of architecture, which 
 he always introduced, were in an elegant tafte ; and a general harmony appeared through 
 the whole compofition. 
 
 The Grand Duke of Tufcany carefled him extremely, and for that Prince he painted 
 feveral noble landfcapes. At Rome alfo he was much admired, and particularly on account 
 ,sf one picture reprefenting the Tower of Babel, which was an immenfe compofition. 
 
 Francis 
 
 * Weyermans, 
 
y e r 
 
 r 7*3 ] 
 
 v E R 
 
 Francis Peter VERHEYDEN. 
 
 Painted Foivl^ and Huntings of Wild Beajls. 
 DIED I7II, AGED 54. 
 
 He was born at the Hague, in 1657, and was originally bred a ftatuary, in which 
 profeflion he proved a good artift, and was one of thofe who were employed to model the 
 figures and ornaments of the triumphal arch erected in 1691 at the Hague, for the public 
 entry of King William III. But by affociating with fome painters who were employed 
 along with him at the King's palace at Breda, and obferving their manner of working, he 
 made fome attempts to imitate them, and did it fo fuccefsfully as to occafion the furprife 
 of all who faw his firft productions j and foon after he entirely laid afide the profeflion of 
 a ftatuary, and devoted himfelf wholly to painting. 
 
 His friends, who difapproved of his conduct, endeavoured to diffuade him, by repre- 
 senting how indifcreet it muft appear for an artift who was eminent in one profeflion to 
 exchange it at the age of forty for another, in which he could only be a beginner ; but 
 their opinions had no influence on him to alter his refolutions. He began with copying 
 animals of different kinds, after Snyders, and very foon found himfelf capable of defigning 
 Subjects in the fame ftyle, fuch as huntings of the wild boar, ftag, and other animals, in 
 which he introduced a multitude of dogs in bold and natural actions, full of peculiar fpir-it 
 and fire. He like wife painted fowl in the manner of Hondekoeter, and touched the 
 -plumage with a lightnefs and tendernefs almoft equal to the mafter who was his model. 
 
 He had a good manner of colouring, and a great command of his pencil j and marked 
 even the hairs of his animals with truth, and a ftrong refemblance of nature. His works 
 in general had much harmony, and looked more like the performances of an experienced 
 artift, than the efforts of one who had been fo fhort a time a practitioner j and it was 
 imagined that he would have excelled moft of the painters in that ftyle, if from his youth 
 he had made the art of painting his fole profeflion. 
 
 Peter Cornelius VERHOEK, or VERHUICK. 
 
 Painted Land/capes, Animahy and Battles. 
 
 He was born at Bodegrave, * in 1642, and became the difciple of Abraham Hondius, 
 whofe manner he imitated while he continued in the Low Countries, and defigned animals 
 with a great deal of fpirit and good action ; but when he travelled to Rome, he was fo 
 affected by the fight of Bourgognone's works, that he ftudied them induftrioufly and 
 inceflantly. 
 
 By a careful obfervation of the excellencies of that mafter, he acquired the fkill to paint 
 battles in his ftyle, with a lively tint of colour, and a competent degree of force j and 
 executed them in a large and fmall fize, with fuch public approbation, that he found 
 
 4 X conftant 
 
 * According to Houbraken, VerhoeJ; was born in 164?, 
 
V E R 
 
 r 7h 3 
 
 VER 
 
 conftant employment at Rome, Naples, and other cities of Italy through which he journied. 
 His landfcapes were painted in a very pleafing ftyle, and ornamented with fmall figures 
 in the tafte of Callot, which were correftly defigned, and touched with fpirit. 
 
 Gysbert VERHOEK, 
 
 Painted Landfcapes, Battles, and Encampments, . 
 
 DIED 169O, AGED 46. 
 
 He was the brother and difciple of Peter Verhoek, born at Bodegrave, in 1644; but 
 as foon as he was well eftablifhed in the rudiments of the art, he placed himfelf as a 
 difciple with Adam Pynaker, and copied fome of the works of his mafter with fuccefs. 
 However, as he had formed his tafte by the paintings of his brother, he endeavoured, 
 like him, to imitate the manner of Bourgognonej and his ufual fubjects were battles, 
 encampments, or fkirmiflies. 
 
 He was remarkably ftudious to improve himfelf, and took uncommon pains to fketch 
 the different motions, actions, and attitudes of men and horfes, that he might have them 
 ready whenever he had occafion to introduce them in his compofitions ; and of thofe kind 
 of fketches he left an incredible number, which were well defigned, and marked with a . 
 great deal of freedom.. 
 
 Jan VERKOLIE. 
 
 "Painted Hi/lory, Portraits, and Converfations* 
 
 DIED 1693, AGED 43. 
 
 He was born at Amfterdam, in 1650; and having fpent fome part of his youth in 
 drawing and ftudying perfpeclive, he chofe to imitate the ftyle of Gerrit Peters Van Zyl, 
 (generally called Gerrard) and arrived at fuch a degree of expertnefs, as to make his works 
 fcarcely diftinguifhable from thofe of that mafter. He was afterwards for a fhort time the 
 difciple of Jan Lievens^ and profited confiderably under his direction ; but when he had . 
 continued about fix months in thatfchool, he perceived that he had gained as much know- 
 ledge as he could poffibly obtain from his inftrudtor, and therefore fet up as a profefled 
 painter. 
 
 Lievens, while Verkolie was his pupil, obferving howftrong a refemblance there was 
 between his handling and colouring and that of Gerrard, employed him to finifli feveral 
 pictures which the latter had left imperfect ; and even the moft fagacious connoifieurs 
 could not remark any perceptible difference between thofe mafters. 
 
 Verkolie for the moft part painted portraits, and in an excellent manner j but he alfo 
 painted hiftorical fubjects and converfations. His colouring was good, and his defign in 
 many refpects correct, with a tender and neat manner of penciling j but he cannot be juftly 
 commended for grace or elegance. 
 
 Nicholas 
 
VER 
 
 C 715 ] 
 
 VER 
 
 Nicholas VERKOLIE. 
 Painted Portrait and HiJIory. 
 
 DIED I746, AGED 73. 
 
 He was born at Delft, in 1673, and was at firft inftructed by his father Jan Verkolie, 
 who died when Nicholas was only twenty years of age; yet even then he was far advanced 
 in the knowledge of his art, and took pains to repair the lofs of fo able an inftructor, by 
 a more diligent application to his ftudies. At firft he painted portraits, with reafonable 
 fuccefs, but afterwards he applied himfelf entirely to painting hiftory, and by his tafte of 
 defign and compofition, gave fingular fatisfaction to thofe who were good judges of merit, 
 and eftablifhed his reputation. 
 
 Befxde the merit of Verkolie in his oil paintings, he had a very peculiar excellence in 
 drawing and defigning with Indian ink ; and he finifhed thofe drawings with fuch accurate 
 neatnefs, that they are fold at a very high rate, and are exceedingly rare. In all his fubjec"ts, 
 whether of hiftory or portrait, he was very correct in his defignj his colouring is good, 
 and in his eafel-pidtures it appears beautifully melting. His touch, though delicate, is 
 firm j and his night-pieces, which have a furprifing effect, are very much coveted, being 
 efteemed worthy of a place in the beft collections. 
 
 John Cornelius VERMEYEN, or Mayo. 
 Painted HiJIory and Portrait. 
 
 TiTKT> I55g, AGED 59. 
 
 He was born at the village of Beverwyck, in 1500, and became principal painter to 
 the Emperor Charles V. who honoured him with many marks of particular efteem. He 
 attended that Monarch at all his battles and fieges, and defigned on the fpot views of all 
 the fortified places which were attacked by the Emperor, as alfo the different encamp- 
 ments of his army, and every memorable action of the whole war, by fea as well as by 
 land; efpecially the moft material incidents of the fiege of Tunis. From thofe defigns 
 of Vermeyen the tapeftries were made which adorn the * Efcurial, and which will be an 
 indifputable proof of the genius, the talents, and the lively imagination of the defigner. 
 
 He was remarkarble for having a beard of fuch an enormous length, that when he flood 
 upright he could tread on it; from which circumftance he was known through all Germany 
 by the name of Johannes Barbatus. 
 
 Andrea VEROCCHIO. 
 
 Painted HiJIory. 
 
 DIED I488, AGED 56. 
 
 He was born at Florence, in 1432, and was at firft a fculptor of confiderable eminence, 
 having executed a great number of curious works in gold and other metals, as well as in 
 
 4X2 marble; 
 
 * According to De Piles, thofe magnificent tapeftries were executed for Philip II, who left them in Portugal, where 
 they ftill remain; but other writers affirm that they were made for the Efcurial, 
 
V E R 
 
 r 1 
 
 marble ; but, being eager to add to his reputation, he applied himfelf induftrioufly. to the 
 ftudy, and practice of the art of painting. He proved himfelf very excellent in defign, by 
 feveral admirable compofitions which he fketched, with an intention of finifhing them in 
 colour ; though, for fome unknown caufe, he never completed them. One of thofe defigns 
 was a battle, in which the figures were naked ; and in others he reprefented female figures, 
 elegantly formed, with an air of peculiar grace in the heads and the difpofition of the hair, 
 which Lionardo da Vinci always took pleafure to imitate. 
 
 Yet, although Verocchio gained great credit by his manner of defigning, his colouring 
 was indifferent and unpleafing, and his pencil dry and hard. v And of that defect in his 
 pictures he happened to be effectually convinced, by a performance of one of his own pupils; 
 for, being afiifted by his difcipte Lionardo da Vinci, in an altar-piece reprefenting St. John 
 baptizing Chrift, Lionardo defigned and coloured an Angel, in one part of the picture, fo 
 exceedingly fine, and fo far fuperior to his mafter, that it made the reft of the picture look, 
 contemptible. The light of it ftrongly affected Verocchio; and he was fo thoroughly 
 mortified to fee himfelf far furpafled by fo young an artift, that it made him determine to 
 lay afide the pencil for ever. 
 
 He had, however, the honour of being the mafter of Pietro Perugino, and Lionardo da 
 Vinci ; and was the firft who invented and practifed the method of taking off the features 
 of any face in a mould of plaifter. 
 
 Paolo VERONESE. Vid. Cagliari, 
 
 Alexander VERONESE, called Turchi, and II Orbetto, 
 
 Painted Hijtory* 
 DIED 167O, AGED 70. 
 
 He was born at Verona, in 1600, and placed as a difciple with Felice Riccio; though 1 
 he afterwards did not adopt the ftyle of that mafter, but formed his ideas of the beauty of 
 colouring from the. manner of Correggio, and his ideas of elegance and grace from the 
 tafte of Guido. 
 
 He ftudied at Rome after the fineft of the ancient and modern productions, and 
 accuftomed himfelf alfo to draw after nature ; by which means he acquired the habit of 
 defigning with eafe and freedom, and alfo with tolerable correctnefs of outline. It was 
 generally faid, that the colouring of the Venetian fchool, and the Roman gufto of defign, 
 were combined in this artift. His wife and his daughter were his models for the figures 
 in his compofitions ;, for, without particularly attending to nature, he never attempted to 
 defign any member of the human body. 
 
 The invention and imagination of this mafter were fo ready, that it was cuftomary with 
 him to proceed directly in his -painting, without having prepared any previous fketch; he 
 difpofed his figures with propriety, and grouped them in fuch a manner, as to make them 
 fet off each other,, and contribute to the good effect of the whole. Yet, although his 
 
 5 colouring 
 
V E R [ 717 ] V E R 
 
 colouring had great force, and his pictures were carefully finifhed, one could often wifh 
 that he had been more nice in the choice of his attitudes and draperies, as well as a little 
 more accurate in his compofitions. He painted many delicate eafel pictures, moft of which 
 are preferved at Rome, where he fpent the greateft part of his life : but his grand com- 
 pofitions are in the churches and convents at Venice and Verona, as well as at Rome. 
 
 In the church of St. Maria in Organis, at Verona, is a very admired picture by this 
 tnafter, of which the fubject is St. Anthony and St. Francis, with a Glory and Angels 
 above ; it is well finifhed, and the glory is fweetly colouf ed. And in the church Delia 
 Mifericordia, in the fame city, is an altar-piece reprefenting the Defcent from the Crofs, 
 which is an admirable performance, and finifhed with abundance of care. The penciling 
 is extremely foft, and the colouring beautiful i being much in the tafte of the Caracci's 
 fchool. The figures of the Virgin and Nicodemus are exceedingly fine, and the expreflion 
 of the Virgin's afflictive forrow is truly affecting i but the draperies, and the linen, are 
 not equal in merit to the other parts of the picture. 
 
 Antonio VERRIO. 
 Painted Htjiory. 
 
 DIED I707, AGED 73. 
 
 He was born at Naples, in 1634; and having learned the art of painting in his own 
 country, he at firft fettled in France, and was there employed to paint the high altar in the 
 church of the Carmelites at Thouloufe j but being invited by King Charles II. to enter 
 into his fervice, he went to England, and by the royal command was engaged at Windfor, 
 where he painted moft of the cielings, the chapel, and one fide of St. George's hall. 
 
 *In one of his compofitions he introduced the portrait of Anthony Earl of Shaftefbury,. 
 in the chara&er of Faction j and, from a private pique to Mrs. Marriot, the houfe-keeper, he 
 borrowed her face for one of the Furies. His invention was but indifferent, though he 
 had a free and ready pencil, adapted to the particular kind of works which he undertook, 
 and underftood ; but he wanted elegance. And as to the propriety of his tafte, it may be 
 eafily eftimated, if it be only obferved, that he introduced himfelf and Sir Godfrey Kneller, 
 in long periwigs, as fpectators of Chrift healing the deceafed. 
 
 That performance which is accounted his beft, is the altar-piece in the chapel at 
 Chatfworth, reprefenting the incredulity of St. Thomas. - 
 
 Henry VERSCHURING. 
 
 Painted Battles., Landfcapes, and Huntings. 
 
 DIED 169O, AGED 63. 
 
 He was born at Gorcum, in 1627, and at firft was the difciple of Dirk Goverts; but 
 afterwards became the difciple of the. celebrated John Both, under whofe direction he 
 practifed for fix years. 
 
 fc . When; 
 
 * Vii. Anecdotes of Painting, 
 
V E R 
 
 I 718 ] 
 
 V E R 
 
 "When he had, under that mafter, gained fuch a degree of knowledge as might enable him 
 to purfue his ftudies with advantage, he travelled to Rome, and attended regularly at the 
 academy, to defign after the naked ; he ftudied after the antiques, after the paintings alfo 
 of thofe artifts who were the ornaments of the Roman fchool, and defigned the ruins and 
 veftiges of fuperb architecture, which were not only in and near Rome, but through every 
 part of Italy which he vifited ; and, with great propriety, introduced fuch pieces of Roman 
 architecture into moft of his compolitions. His landscapes were copied from nature, juft 
 as the beautiful fituations and fcenes occurred to him in his travels; and generally they fhew 
 a judicious and agreeable choice. 
 
 The peculiar talent of. Verfchuring was for painting battles, and fkirmifhes of horfemen; 
 end, to enable him to reprefent them with exactnefs and truth, he was exceedingly curious in 
 obferving the actions, movements, and attitudes of horfes,and the engagements, retreats, and 
 encampments of armies, and even made a campaign in 1672, to defign his fubjects on the 
 fpot. His genius was fruitful and happy ; there appears a great deal of fire in his ideas j 
 and, as he always ftudied after nature, he had nothing of the mannerift. His fcenery is 
 beautiful, his figures are correctly defigned, and are touched with fpirit. He finifhed his 
 pictures with extraordinary neatnefs of pencil, and they are remarkably tranfparent. 
 
 One of his moft capital performances (according to Honbraken) is at Dort ; it reprefents 
 the plundering of a country, and particularly of a caftle. There is a view of the fea-fhore, 
 to which a large herd of cattle are driven as a prey j the owner of the. caftle appears bound 
 with cords, and his wife is on her knees, as if fupplicating her enemies to accept of a ranfom 
 for herfelf and her hufband. This picture .is exquifitely finiftied, with a great number of 
 figures well defigned, correctly drawn, and with good expreflion. 
 
 He was unfortunately drowned, by a fudden fquall of wind which overfet the vefTel in 
 which he failed, a few leagues from Dort. 
 
 William VERSCHURING. 
 
 Painted Converfations and Portraits. 
 
 He was the fon of Henry Verfchuring, born at Dort in 1657, and learned the principles 
 of defign from his father; yet he afterwards ftudied for fome time under Jan Verkolie. 
 
 The fubjects which he feemed to be moft fond of, were converfations, though he fome- 
 times painted portraits ; and, by the works which he has left, it appears highly probable, that 
 if he had continued to practife his art, with the fame afiiduity that he exerted at the beginning 
 of his ftudies, he would have arrived at a high degree of eminence j but he gradually difcon- 
 tinued painting, being engaged in other lucrative employments. 
 
 Daniel VERTANGEN. 
 
 Painted Landfcapes and Nymphs. 
 
 BORN ABOUT 1599* 
 
 Very few particulars relative to the life of this artift have been recited by any of the 
 .writers on this fubject, although his merit is fo univerfally known and allowed. 
 
 He 
 
VER 
 
 C 719 3 
 
 V I A 
 
 He was born, at the Hague, and proved one of the mod eminent difciples in the fchooi 
 of Poelemburg. He imitated that mafter, not only in his handling and tone of colour, 
 but in his tafte and ftyle of compofition; fo that the defcription of the manner of 
 Poelemburg would be almoft an exact and true defcription of the manner of Vertangen. 
 
 His fubjects were fimilar to thofe of his mafter ; landfcapes, with nymphs bathing.; 
 caves, and bacchanals ; which he finifhed with great delicacy, and neatnefs of pencil ; but 
 they are in general far inferior to the paintings of Poelemburg, and, if compared with the 
 genuine works of that mafter, they cannot fupport a competition. However, the beft 
 defcription of the ftyle of Vertangen, as well as the beft teftimony of his real merit, is 
 to fay, that very many of his paintings have been afcribed to his mafter Poelemburg. . 
 
 Ary Hubertz VERVEER. 
 Painted Hijiory and Portrait. 
 
 He was born at Dort, in 1646, and by many of his own countrymen was much 
 efteemed for hiftorical compofitions, which he ufually furnifhed with naked figures. 
 
 He was a good defigner, but he painted in a rough manner, fo as to make it neceflary 
 to view his pictures at a diftance. The greateft objection to his pictures was, that he 
 coloured the flefh of his figures of too tawny a complexion ; and that the bluifh tint, which 
 is always perceptible in fine carnations, was not feen in any part of the naked which he 
 painted; but he feemed to be fully fatisfied^ if his pictures had a ftrong and bold effect. 
 
 It was remarked of him, that although he defigned and painted feveral fubjects, yet he. 
 rarely found fufficient refolutiorr or application to finifli any of them as he ought. 
 
 Francis VERWILTY. 
 Painted Landscape. 
 
 He was Born at Rotterdam, about 1598, and at firft was inftructed in landfcape-painting 
 by an artift of no great reputation ; but he afterwards became the difciple of Poelemburg. 
 
 His landfcapes were painted in an agreeable manner, generally clear, and adorned with 
 pieces of architecture and ruins," which were defigned in a good tafte. He conftantly 
 endeavoured to imitate his mafter Poelemburg, and in his figures he very much refembled 
 him ;. but there is a very apparent difference in the ftyle of his landfcapes. 
 
 Giovanni VI AN I. 
 Painted Hijiory, 
 
 DIED I7OO, AGED 63^ 
 
 He was born at Bologna, in 1637, and was the difciple of Flamminio Torre. He 
 formed his tafte of defign and compofition from the works of the moft famous mafters of 
 the Lombard fchooi, the Caracci, and Guido j and his own performances were admired 
 
 c for 
 
V I A 
 
 C 7^0 ] 
 
 V I N 
 
 For the airs of the heads, which were defigned much in the tafte of Guido, for a tint of 
 colouring that was exceedingly pleafing, and for correctnefs in his outlines. 
 
 In the church at Bologna, called I Servi, there is a picture by" this artift which reprefents 
 a Saint carried up to heaven by angels j and it is extremely beautiful, as well in refpect 
 of the defign, as of the fine effect of the whole. 
 
 Dome n ico Maria- VIANI. 
 Painted Hijiory. 
 
 DIED 1716, AGED 46. 
 
 He was the fon and difciple of Giovanni Viani, born at Bologna, In 1670. From the 
 precepts of his father he learned defign, but perfected himfelf in the knowledge of 
 colouring by his ftudies at Venice. 
 
 The manner of Domenico was bold, his colouring agreeable, and he fliewed correctnefs 
 and elegance in the contours of his figures. The grandeur of his tafte may be feen in 
 that celebrated picture which he painted at Imola, compofed in honour of fome particular 
 Saints, who were fuppofed to have driven away the peftilence from that city ; in which 
 noble defign fifty figures are reprefented, as large'as life,'extremely correct, and pleafingly 
 coloured; though, in general, his colouring is inferior to that of Giovanni, having 
 rather too much of one tint of colour predominating through the whole. Alfo, in a 
 chapel belonging to the church I Servi, in Bologna, there is a grand altar-piece painted by 
 Domenico Viani. The fubject is a legendary ftory, of the miraculous healing of a fore 
 leg of fome pilgrim by Chrift; it is in many of its parts very beautiful ; it is finely 
 painted, in a broad free manner, with a bold pencil, and well defigned, though too much 
 of one colour. 
 
 V IN C.E.N T.I NO. Vid. Vincentio di San Geminiano. 
 
 LlONARDO DA VINCI. 
 
 * 
 
 Painted Hi/lory and Portrait. 
 
 DIED 1520, AGED 75. 
 
 This mafter was defcended from a noble family, and born at the caftle of Vinci, near 
 Florence, in 1445, and from his infancy had an education fuitable to his birth ; being 
 carefully inftructed in the fciences, and every branch of polite literature. And having 
 ihewn a peculiar fondnefs for defigning, he was placed as a difciple with Andrea Verocchio, 
 .at that period of time when Pietro Perugino ftudied in the fchool of that mafter. 
 
 From the excellence of his genius, his proficiency was fo rapid, that he furpafied his . 
 inftructor in an eminent degree ; and being appointed by Verocchio to paint the Angel, 
 -who was to be reprefented as bearing the garment of Chrift when he was baptized 
 rby St. John, the defign and the colouring of the difciple, fo far difcountenanced the work 
 
 of 
 
V 1 N [ y 2 i ) VIM" 
 
 of the matter, and fo much aftoniftied Verocchio, that it provoked him to quit the 
 profeflion entirely. 
 
 No artift before his time ever had fuch comprehenfive talents, fuch profound (kill, or 
 fo difcerning a judgment, to explore the depths of every art or fcience, to which he 
 applied, as Lionardo; and the virtues of his mind were only equalled by the powers of his 
 underftanding. He ftudied nature with a curious and critical obfervation ; and it might 
 have been wiihed, that he had fought even more than he did, to improve, correct, and 
 refine nature, by a greater attention to the antique ; yet, in all other refpects, his thoughts 
 were perpetually employedjn fearching out every principle, every circumftance, that could 
 enable him to arrive at excellence j and he had the happinefs to be at laft fuccefsful. 
 
 He was peculiarly attentive to mark the paflions of the human mind diftinctly, being 
 convinced that a juft expreflion is not only the raoft difficult part of the painter's 
 province, but alfo that part which will always afford to the judicious and the learned, the 
 moft fenfible fatisfaction. To ftrengthen his ideas in that point, he (ketched every 
 countenance that appeared to have any Angularity, and attended the proceflions of criminals 
 carried to execution, that he might imprefs on his memory the variety of paflions which 
 he noticed among the crowd, every individual being perhaps differently affected; and to 
 trace, through the vifage of the fufferers, thofe ftrong emotions of mind, which became 
 vifible in every feature, from the near approach of a fudden and violent death. 
 
 In the year* 1494 he went to Milan, where he was moft affectionately received by the 
 Duke Ludovico Sforza, on account of his many accomplifliments, in mufic, poetry, and 
 architecture, as well as for his fuperior merit in his profeflion; and the fondnefs which 
 that Prince afterwards expreffed for Lionardo increafed to a height that feemed fcarcely 
 credible. By order of the Duke he painted a Nativity for an altar-piece, which was 
 prefented to the Emperor ; and he likewife painted that incomparable picture of the Laft 
 Supper, in the church of the Dominicans at Milan, which will, to the end of time, difplay 
 the elevated genius of its author. 
 
 As that compofition is a mafter-piece of Da Vinci, it ought not to be pafled over 
 without a particular obfervation on its allowed merit ; and the reader will probably be 
 more inftructed and entertained, by reciting to him the opinion of Rubens on that fubjedt, 
 than by any remarks of others, who muft be confefledly his inferiors. 
 
 In a Latin manufcript, part of which has been tranflatedby De Piles, Rubens obferves, 
 ** that nothing efcaped Lionardo that related to the expreflion of his fubjedt ; and, by the 
 " warmth of his imagination, as well as by the folidity of his judgment, he raifed divine 
 4t things by human, and underflood how to give men thofe different degrees, that elevate 
 " them to the character of heroes. 
 
 ** The beft of the examples that Lionardo has left us, is the Laft Supper, in which he 
 u has reprefented the Apoftles in places fuitable to them ; but our Saviour is in the midft 
 
 4 Y « of 
 
 * Vafarl fays, it was in the year 1494 Lionardo went to Milan ; but by fome unaccountable miftake ,in SanJrart (if 
 not by an iucorrec~tnefs of the publi/her of his works,) it is faid, in page uz of his AcadeJnia Pkloruin, that Lionardo 
 went to Milan in 1434, which happens to be eleven years before that artift was born* 
 
V.I N 
 
 V I N 
 
 « of all, in the moft honourable, having no figure near enough to prefs or incommode 
 " him. His attitude is grave, his arms are in a loofe free pofture, to mew the greater; 
 " grandeur, while the Apoflles appear in agitation, by their vehement defire to know 
 " which of them mould betray their mafter ; in which agitation, however, not any mean- 
 <c nefs, or indecent action can be obferved. In fhort, by his profound fpeculations, he 
 « arrived to fuch a degree of perfection, that it feems impoflible to fpeak as highly of him 
 " as he deferves, and much more impoflible to imitate him." 
 
 * This picture was left unfinifhed for fome time, in refpedt to the head of Chrift, and 
 to the face of Judas ; the former was left imperfect, as the painter could not exprefs that 
 fublime idea which he had conceived in his mind, of the Redeemer of the World in a human 
 form ; and he delayed the latter, as he wanted to combine, in the features of one face, 
 avarice, ingratitude, malice, treachery, and every malign difpofition of the human heart* 
 The firft he never attempted to finifh ; but he amply anfwered his purpofe in the head of 
 Judas, by. giving the intended figuce a ftriking likenefs of the Prior of the Dominican 
 Convent. 
 
 He was remarkably flow in finifhing his pictures; but whenever he did finifti them* 
 they were exquifite. He fpent four years on one portrait, which was of Mona Lifa, the 
 wife of Francefco di Giocondo; in which it is aftonifhing to obferve, how clofely he has 
 imitated nature: the eyes have all the luftre of life; the hairs of the eyebrows and lids 
 feem real, and even the pores of the fkin are perceptible. 
 
 In his composition he was careful to avoid incumbering it with a multitude of figures, 
 and therefore never admitted a greater number into his defign than what were abfolutely 
 neceflary to illuftrate his fubject; and he had fufHcient judgment and power of execution 
 to give every figure its proper character. Yet, although he had fo accomplished a 
 genius, in every refpedt, to a very uncommon degree, he had alfo as uncommon a modeft 
 diffidence of his own abilities; and left feveral of his pictures imperfect, only. becaufe he 
 aoprehended that his execution could not fufficiently correfpond with thofe ideas of 
 excellence, of which he had a diftinct conception in his mind. 
 
 He poflefTed a very enlarged genius, a lively imagination, a beautiful invention, and a 
 folid judgment. His defign was extremely correct, his difpofition judicious, and his 
 exprcflion natural. But as to his colouring, it is not agreeable, as the violet tint predo> 
 minates to an extreme degree. However, it may not be improbable that, when his 
 colours were at firft laid on, they might have had a very different appearance; nay, from 
 the indifputable judgment afcribed to Lionardo, it feems more than probable, that as he 
 made nature his conftant ftudy, his original colouring had all the look of r nature and life. 
 And, perhaps, the variety of varnifhes which we are told he ufed, to add luftre to his 
 colours, or his wanting a Sufficient experience in the quality of oils, and their proper 
 
 mixture 
 
 * Mr. Cochin, a late traveller, and ingenious writer, describing the pidture of the Laft Supper, which he faw at 
 Milan in 1757, after giving a particular defcription of the beauty of the defign, the fine airs of the heads, the noble caft 
 of the draperies, and that in general it was extremely in the tafte of Raphael, concludes, with obferving a ver) fin3ul.11 
 impropriety'in it, which is, that the hand of S;. John has fix fingers. Vid. Voyage d'ltalie, torn. i. p. 42. 
 
V I N 
 
 I in ] 
 
 V I N 
 
 mixture to render his colours durable, may have, by length of time, occasioned that un- 
 pleafing tint, which is noticed in all the paintings of that great man. 
 
 When he went in the train of Giuliano da Medici to Rome, and was employed by Pope 
 Leo X. his refidence in that city was made fo difagreeable, by the morofe temper of 
 Michael Angelo Buonaroti, that he retired to France, where he foon after ended his days, 
 having had the honour to expire in the arms of the King. 
 
 David V I N C KE NBOOM S, called VINKOBOON. 
 
 Painted Landfcape. 
 
 He was born at Mechlin, In 1578, and inftructed in defign by his father, Philip 
 Vinckenbooms, who painted only in diftemper ; and, while Philip lived, his fon David 
 praclifed the fame kind of painting with fuccefs ; though he afterwards carefully ftudied 
 the art of painting in oil; and all his fubfequent works were painted in that way. 
 
 The general ftyle of this mafter was landfcapes, in a fmall fize, which he ufually 
 crowded with figures, cattle, carriages, houfes, and trees ; and he (hewed a good tafte of 
 defign in his figures. His fubjects were fometimes taken from facred hiftory, and fome- 
 times converfations, rural feafts, weddings, fairs, or feftivals, which for the moil part he 
 copied after nature; and \n feveral of thofe compofitions of mirthful fubjects, there 
 appeared humour and ftrong expreflion, but without the fmalleft traces of elegance or grace. 
 
 The peculiar genius and tafte of Vinckenbooms may be judged of by that picture of 
 his painting at Amfterdam, reprefenting Ghrift carrying his Crofs ; and by another at 
 Frankfort, of which the fubject is Blind Bartimeus reftored to his fight by our Saviour; 
 and as engravings. after thofe paintings, as alfo after feveral of his landfcapes, have been 
 publiftied by Nicholas de Bruyn, they cannot but be known to all the lovers of the art. 
 His landfcapes, in refpect to the touch and the colouring, have confiderable merit; but 
 the judicious eye will, in all his compofitions, obferve fomewhat ftifF and hard, that 
 greatly diminifties their value. In many of his pictures Rothenamer inferted the figures ; 
 and yet thofe figures which he himfelf defigned, are executed with fpirit, and very 
 correctly drawn. 
 
 Vincent Vander VINNE. 
 
 Painted Hi/lory, Portrait^ Converfations-) and Landfcapes. 
 
 DIED 1702, AGED 73. 
 
 He was born at Haerlem, in 1629, and placed as a difciple with Francis Hals, by, 
 whofe inftruclion he became very expert in imitating the touch and colouring of his 
 mafter ; and, by a proper application of his talents, might have rendered himfelf an artift 
 of eminence. 
 
 He painted almoft all kinds of fubjects with equal readinefs and eafe, as well in a large 
 fize as in a fmall; but he was particularly fuccefsful in portraits,' as he had derived from 
 
 4 Y 2 Hals 
 
 \ 
 
V I N 
 
 C 3 
 
 V I o 
 
 Hals the art of giving them an agreeable likenefs and character j and he touched them 
 with a free fpirited pencil, and bold handling. For Hals laid it down as a maxim to his 
 pupils, to practice at firft. with boldnefs and freedom, alledging, that neatnefs and high 
 fuiiflring would afterwards be eafxly acquired. 
 
 Vander Vinne proved to be lefs attentive to his fame than to his fortune, and depre- 
 ciated his talents fo far, that he undertook every kind of fubject that was befpoke, from . 
 which an immediate profit was to arife. He had a lively imagination, and a very fertile 
 invention, which evidently appears in thofe emblematical pictures which he compofed in 
 the manner of Goltzius, and others; and as he had always made nature his particular ftudy a 
 he was remarkable for imitating it with exactnefs and truth. 
 
 Lawrence Vander VI.NN-E,- 
 Painted Flowers. 
 DIED 1724, AGED 66. 
 
 He was the fon of Vincent Vander Vinne, born at Haerlem, in 1658, and after the 
 example of his father, who was his only inftructor, he painted a variety of fubjects, but 
 chiefly flower-pieces. Thofe flowers which he ufually painted, were of thofe kinds moft 
 admired by florifts j and he worked as neatly in water-colours as in oil. 
 
 A friend of his, who was extremely curious, having procured a number of uncommon 
 exotics from the Eaft and Weft Indies, employed him to paint them after nature ; and he 
 executed that work with great approbation. However, it muft be allowed that he was 
 in all refpects very far inferior to his father. 
 
 Giovanni Battista VIOLA. 
 
 Painted Hi/lory and Landfcape, 
 
 DIED l622, AGED 50. 
 
 He was born at Bologna, in 1572, and was the difciple of Annibal. Carrac.ci, with 
 whom he ftudied for feveral years ; and, when he quitted that fchool, was accounted an 
 extraordinary good painter. His reputation was well eftablifhed at Rome and Florence, 
 as well as in his native city j but his works are rarely to he met with in thefe kingdoms. 
 Frefnoy, who undoubtedly was an able judge of the merit of a painter, allows the works 
 of Viola to be wonderfully fine, and well coloured. He painted a grand landfcape for 
 the Cardinal Montalto, in conjunction with Paul Bril, whofe manner, as well as that of 
 Brueghel, he ftudied to imitate. He alfo executed feveral noble compofitions in_the Villa 
 Aldobrandina, which rendered him defervedly famous through all Italy. 
 
 Giovanni delia VITE. Vid. Jan Miel. 
 
 Ottavio 
 
V I V 
 
 C 725 J 
 
 V I v. 
 
 O T T A v 1 V I V I A N I, called Codazzo. 
 Painted Perfpefiive, Architecture and Ruins* 
 
 DIED 1674, AGED 75. 
 
 He was born at Brefcia, in 1599, ana " was fc ^ e difciple of Tomafo Sandrino, an eminent 
 painter of perfpedtive in that city; but afterwards he ftudied under Agoftino Tafli, who 
 had been the difciple of Paul Bril, and was excellent in painting architecture. 
 
 By pradliling under fuch excellent inftructors, he became a moft admirable painter in 
 iheir ftyle, and furpaffed them both confiderably. His fubjects were the ruins of magni- 
 ficent edifices, porticoes, convents, &c. which, for the truth of perfpective, for delicate 
 handling, and for fine keeping, are fuperior to moft of thofe who have diftinguifhed 
 themfelves in that ftyle ; and his works are fo univerfally admired, that they are 
 affiduoufly fought for through every part of Europe, and purchafed at very large prices. 
 
 Nothing can he more exactly true than the perfpective paintings of Viviani ; nothing 
 more elegant and grand in the difpofition, nor more beautiful than his choice of objects. 
 His figures are generally placed with peculiar judgment, and as fkiifully proportioned to 
 their fituation, fo as by their comparative height to make the magnificence of his buildings 
 more ftriking, even at the firft view ; and, by his thorough knowledge of the principles of 
 the chiaro-fcuro, as alfo by an excellent ftyle of colouring, he gave to every column and 
 elevation the look of real nature; and every ornament and member of his architecture, 
 fills the eye and the imagination with uncommon fatisfaction.. 
 
 Joseph VIVIEN. 
 
 Painted Portraits^ in Oil and Crayon. 
 
 DIED I735, AGED 78. 
 
 He was born at Lyons, in France, in 1657, and was the difciple of Charles Ie Brun, 
 with whom he was fo indefatigable in his ftudy and practice, that, during his continuance 
 in the fchool of le Brun, he gained considerable credit by fome performances which he 
 painted in oil. 
 
 The firft finimed work which contributed to raife the reputation of Vivien, was a 
 family picture, twelve feet long and ten in height ; but another painting in crayon, which 
 had all the force, beauty, and harmony of oil-painting, rendered him ftill more the object 
 of admiration. When he obferved that his [pictures began to be publicly approvedj he 
 undertook to paint portraits in the hiftorical ftyle, adorned with agreeable viftas, or 
 embellilhed with fabulous, or allegorical figures, fome ef which were afterwards 
 engraved. 
 
 From France he vifited BrufTelsand the Court of Bavaria; and, at the latter, painted the 
 portrait of the Elector with crayons, in an exquifite manner, which afforded that Prince fo 
 much fatisfaction, that, to preferve it from duft, or damp air, he had it covered with a 
 
 3 cr.yftai. 
 
V L E 
 
 [ 7*6 J 
 
 V L E 
 
 cryftal forty-eight inches high, which was the dimenfion of the painting ; and not only 
 appointed him ftate-painter, but honoured him alfo with feveral very valuable prefents. 
 And, tofhew how high an opinion he had conceived of the merit of Vivien, he fent the 
 portrait of that artift to Cofmo III. Duke of Tufcany, which was placed in the Florentine 
 .gallery of artifts. 
 
 No painter in crayon could have more beauty in his tints than Vivien, nor more grace 
 or elegance in the airs of his heads, and in his attitudes. He gave extraordinary foftnefs, 
 relief, and plumpnefs, to his carnations; and for that reafon he was called, by fome of his. 
 own countrymen, the French Vandyck ; his crayon-paintings being allowed to have fuch 
 a degree of force, as few of the painters in oil have furpafied. 
 
 Peter VLERICK. 
 Painted Hi/lory. 
 
 DIED 1581, AGED 42. 
 
 He was born at Courtray, in 15395 and at firft was inftructed by William Snellart, an 
 artift who painted in diftemper, with whom he continued for a long time ; but afterwards 
 "he improved himfelf in correctnefs of defign, and in a better ftyle of painting, under 
 Charles D'Ypres ; and if that mafter had not been of an odd and difagreeable temper, he 
 probably would have made[a much greater progrefs under him. But he was conflrained to 
 quit him, and, being in very narrow circumftances, was forced to feek his fortune out of his 
 own country. After he had contended with many difficulties he arrived at Venice, where 
 he had the good fortune to obtain the friendmip of Tintoretto; and, by ftudying the works 
 of that excellent painter, and obferving his inftructions, he acquired a good ftyle of 
 colouring, as well as of compofition. 
 
 To perfect himfelf ftill farther, he travelled to 'Rome, not permitting any thing that 
 was curious in that city to efcape his obfervation. He defigned after the antiques, and 
 (ketched the beautiful views on the banks of the Tiber with great fpirit and freedom of 
 hand; and in the fame manner defigned the profpects about Naples and Puteoli. During 
 his refidence at Rome he finifhed feveral hiftorical pictures in oil, as well as in diftemper, 
 which gained him confiderable reputation ; and, on his return .to his own country, his 
 compofitions procured him the approbation of all the artifts of his time. The fubjects of 
 fome of thofe compofitions were, Judith with the head of Holophernes ; the Brazen 
 Serpent ; the Four Evangelifts ; and a Crucifixion. In all his performances the manner 
 of Tintoretto was obfervabie, for he retained that manner to the laft. 
 
 He was well fkilled in perfpective and architecture; he difpofed his figures with 
 propriety and judgment; and had a very agreeable ftyle of colouring. It was remarked 
 that, in his. picture of the Crucifixion, he reprefented the pofition of Chrift on the Crofs 
 contrary to the general practice of all other painters, and defcribed him as hanging only 
 by the hands, as they were nailed, without any other fupport. 
 
 Hendrick 
 
V I I 
 
 l m 3 
 
 VOL 
 
 H end rick Van VLIET. 
 
 Painted Perfyeftive Views and Portraits, 
 
 He was born at Delft, in 1608, and learned the principles of painting from his uncle, 
 William Van Vliet, who was accounted a very good painter ; but, to eftabliftx himfelf in 
 the beft ftyle of portrait-painting, he placed himfelf as a difciple with Mirevelt. However, 
 although he {hewed great merit in portrait, yet was he raoft fuccefsful in painting 
 perfpeclive views of the infides of churches, which were ufually repxefented by candle^ 
 light j and he filled thofe pictures with excellent figures, of a fmall fize, always contriving 
 to difpofe his lights in fuch a manner as to produce a very pleafing effect. 
 
 Charles Bosschart V O E T. 
 Painted Birds , Flower s, and Infetts. . 
 
 DIED I745, AGED. 75. 
 
 He was born at Zwolle, in 1670, and inftru&ed by his brother, who was burgomaftcr 
 of that city ; and who, being an excellent painter of plants and flowers, gave his pupil a 
 delicate tafte for defigning the fame fubjects. He alfo practifed under another flower- 
 painter for fome time ; but his matter being apprehenfive of being furpalfed by Voet s 
 feemed rather to conceal the fecrets of the art of colouring from him, than to acquaint 
 him with the true principles of it. For thafreafon Voet quitted him, and applied himfelf 
 with the greater induftry to ftudy accurately after nature. 
 
 His proficiency foon difcovered the goodnefs of his genius; and, when he was only 
 nineteen years of age, his merit recommended him to the Duke of Portland, the favourite 
 of King William III. who took him in his train to London, fettled on him a confiderable 
 annuity, and bought all his works as foon as they were finifhed. 
 
 As he painted his fubjecls entirely after nature, he had thofe objects which he painted 
 always ready for his ufe in his own garden; and he took care to fupply that fpot of 
 ground with the raoft beautiful kinds of plants and flowers, fome of them being curious 
 exotics, and others natives of his own climate. His colouring was extremely natural, his 
 pencil delicate, and fome of his birds have been efteemed fcarcely inferior to thofe of 
 Bondekoeter. 
 
 J:€HN VOLLEVENS. 
 Painted Portrait. 
 
 DIED I728, AGED 79. 
 
 He was born at Gertruydenberg, in 1649, and, according to fome writers, was at firft 
 the difciple of Netfcher, and afterwards of Nicholas Maas and John de Baan; but his 
 greateft improvement is afcribed to his ftudies under the direction of the latter, to whom 
 he became almoft equal before he left the fchool of that mafter. 
 
V O L 
 
 [ 7** ] 
 
 VOL 
 
 The Prince of Courland proved to be his firft patron ; and, out of a particular refpect to 
 his merit, procured him the advantage of painting the portraits of all the officers of his 
 own regiment; and the Prince of Naffau was painted by him at full length, as large as 
 life, which effectually eftablifhed his reputation. 
 
 The colouring of Vollevens was natural, and mewed a remarkable freftinefs; an eafe 
 and elegance of tafte appeared in his figures, which he always difpofed very judicioufly, 
 and produced a ftriking refemblance of the perfons who fat to him ; and the harmony 
 obfervable in all his performances, is a fufficient proof that he had profitably ftudied the 
 great mafters. 
 
 Da NHL da V OL TERRA, or Ricciarelli. 
 Painted Hijlory. 
 
 DIED 1566, AGED 57. 
 
 He was born at Volterra, in 1509 ; his family name was Ricciarelli, but the appellation 
 of Volterra was given him from the place of his nativity, according to acuftom which at 
 that time generally prevailed through Europe. 
 
 In his youth he learned the principles of painting from Giovanni Antonio Vercel.li, 
 called Sodoma ; but he improved himfelf abundantly more by the inftructions of Balthafar 
 Peruzzi, of Siena ; and yet even under both thofe mafters he made no conliderable progrefs^ 
 becaufe, though he ftudied with great diligence, and was impelled by a defire to fucceed 
 in his profeffion, yet at that time of life his genius appeared rather heavy, and his execution 
 was flow. His firft works therefore, in his own country, fhewed much more of the 
 friffnefs of labour than of any thing grand in the defign, or noble in the tafte ; and very 
 Jittle either of grace in his ideas, or of elegance in the invention ; directly contrary to 
 thofe great mafters who feemed to be born painters, and whofe early productions 
 afforded promising expectations of their future perfections. 
 
 However, what he wanted in quicknefs of parts, was compenfated by his diligence, 
 patience, and indefatigable induftry ; and as he found neither antique figures, nor any fine 
 paintings in his native city, which could infpire him with more elevated ideas, and prove 
 incentives to him to afpire after a nobler manner of defigning, he determined to vifit 
 Rome, as the only place that could furnifh him with proper models for his improvement, 
 and alfa with fufficient encouragement, whenever he was qualified to deferve it. 
 
 As an introductory performance, to afford a fpecimen of his abilities, he painted a 
 rpicture in oil, reprefenting the Scourging of Chrift, with a number of figures in the com- 
 pofition ; and thofe figures he defigned after living models, the faces being alfo portraits. 
 That picture was finiflied with abundance of care, and with the utmoft exertion of his 
 ikill; and when it was accomplished, he prefented it to Cardinal Trivulzi, who received 
 it with great fatisfaction, became his patron, and, what was ftill more, conceived a parti- 
 cular friendmip for him ; and, by his intereft and recommendation, Volterra had foon after 
 fufficient employment. As foon as he arrived at Rome, he no longer adhered to the 
 
 manner 
 
VOL 
 
 [ 7 2 9 J 
 
 V o o 
 
 manner of his firft matters, but ftudied and adopted the ftyle of Michael AngeloBuonaroti ; 
 and was not only much improved by the works of that famous artift, but was promoted 
 by his folicitation. 
 
 For fome time he worked as an aflbciate with Pierino del Vaga, in the chapel belonging 
 to Agnolo de Maffimi, at Rome ; and after the death of Vaga, he fucceeded him by the 
 appointment of Pope Paul III. in his penfion and employment. But the work which 
 immortalized the fame of Volterra, was the Hiftory of St. Helena finding the true crofs, 
 painted in a chapel belonging to the church of Trinita del Monte, on which he fpent feven 
 years ; and the celebrated picture accounted one of the beft in Europe, is among the 
 number of the compofitions painted in that chapel. It reprefents Chrift taken down from 
 the Crofs by Jofeph, Nicodemus, and other difciples ; the Virgin in a fwoon, fupported 
 by Mary Magdalen, and the other Mary. It is an admirable performance, difpofed with 
 great fkill and judgment, having a great deal of grace, with good expreffion : and 
 according to the opinion of Nicolo Pouflin, the Transfiguration, by Raphael; the Com- 
 munion of St. Jerom, by Domenichino; and the Defcent from the Crofs, by Volterra, 
 are the three moft capital pictures in the world. 
 
 The principal works of this mafter are at Rome; but when he revifited his native city, 
 he painted, as a memorial of himfelf, the hillory of the Murder of the Innocents, with figures 
 of a fmall fize, which was placed in the church of St. Peter at Volterra, and efteemed a 
 mafter-piece of art. Not long after, Pope Paul IV. having, through an excefs of zeal, 
 determined to deface the celebrated Laft Judgment of Buonaroti, on account of the nudities, 
 was with great difficulty prevailed on to alter his refolution, by the importunity of the 
 Cardinals, who probably were better judges of the merit of that grand compofition than 
 himfelf. Volterra was therefore appointed to clothe the exceptionable figures with light 
 and proper draperies, fuitable to the attitudes; and he executed that work extremely to 
 his own honour, although it deprived the original of many of its real beauties. 
 
 He painted feveral grand compofitions for the Cardinal Farnefe, and alfo at the Pope's 
 palace of Belvedere; but Julius III. who fucceeded Pope Paul, having diverted Volterra 
 of his penfion and employment, he quitted painting entirely, and ever after applied 
 himfelf to ftatuary. 
 
 VOLTERRANO. Vid. Baldassare Franceschini. 
 
 John VOORHOUT. 
 
 Painted Hijiory and Converfations. 
 
 He was born at Amfterdam, in 1647, and at firft was the difciple of Conftantinc 
 Voorhout of Gouda, a good painter of converfations, with whom he continued for fix 
 years; and afterwards he placed himfelf as a difciple with John Van Noort, a painter of 
 portraits and hiftory, at Amfterdam, and fpent five years in completing his ftudies under 
 that mafter. 
 
 4 Z When 
 
V o o 
 
 C 730 3 
 
 v o 3 
 
 When he begun to pra&ife independent of his inftructors, he was very induftrious t& 
 improve himfelf by ftudying after nature, and made fo great a proficiency, that in a few- 
 years his works rofe into much efteem. By the troubles in the Low Countries he was 
 compelled to retire ; and he fettled at Hambourg, where he might have made a large fortune, 
 as his paintings were exceedingly coveted, if the felicitations of his friends had not 
 prevailed on him, contrary to his own inclination, to return to his own country. However, 
 as foon as he arrived at Amfterdam, he found every encouragement he could wifli, as well 
 in regard to the high prices paid for his pictures, as to the prodigious demand there was 
 for them; and as the freedom of his hand was remarkable, he painted fuch a number as. 
 muft have diminiflied their, price, if his pictures had not perpetually allured purchafers by. 
 their intrinfic merit. 
 
 But, although the works of this mafter were, much admired, yet, as to himfelf, there 
 appeared fomewhat fo referved in his manner of addrefs, or rather fo difagreeable, that he 
 did not meet with that countenance and favour from thofe of rank and fortune, to which 
 he was juftly entitled by his eminence in his profeflion, 
 
 One of his moft capital paintings is the reprefentation. of the Death of Sophonifba, 
 which is well defigned, and the exprefiion is ftrong. It is obferved, in reference to the 
 ftyle of Voorhout, that the hiftorical fubjects which he chofe to paint were of the noble 
 and elevated kind, and fuch as were furRcient to employ all the powers of genius ta 
 reprefent them with dignity and propriety. 
 
 Martin d e VOS. 
 
 Painted Hiftory> Landfcape^ and Portrait. 
 
 DIED 1604, AGED 84. 
 
 He was born at Antwerp, in* 1520, and had the happinefs of being at firft carefully 
 inftrucled by his father, Peter de Vos, a very able artift ; but afterwards he was the difciple 
 of Francis Floris, with whom he gained great knowledge of defign and colouring. 
 
 When he quitted the fchool of Floris he travelled to Rome, where he continued for> 
 feveral years, improved himfelf by ftudying after the beft models; but being captivated 
 with the lovely colouring of the Venetian fchool, he went to Venice, and attached himfelf 
 particularly to Tintoretto, who foon found him worthy of his efteem, and- employed him 
 to paint the landfcapes in his pictures. He alfo explained to him thofe principles and 
 rules by which he had formed his own tafte; and generoufly difclofed to him every fecret 
 relative to colouring, which he had either derived from his mafter Titian, or had been the 
 refult of his own ikill and experience. 
 
 Under 
 
 * In the Chronological Tables the birth of De Vos is fixed in the year 1531, by which account he could have been 
 but 73 when he died, as all authentic writers affirm that he died in 1604 ; but according to thofe Tables he died in 1630, 
 which makes him 99 at his death, though by the beft accounts he was only 843 and the authors- of the Abrege de la Vie 
 des Peintres fix the birth of De Vos, full as improperly, in 1 534, which makes him only 70 when he died, in the year 
 16C4, though he certainly was 84 years old at his death. 
 
V o s 
 
 [ 731 ] 
 
 V o s 
 
 Under the direction of fo able an inftrudtor, de Vos became an excellent matter, his 
 reputation fpread through all Italy; and he was not only employed for hiftorical compo- 
 fitions, but he painted many portraits for the illuftrious family of the Medici ; and when 
 he returned to Antwerp, he finiflied feveral grand altar-pieces, which were beheld with 
 general approbation. 
 
 De Vos had a very fruitful invention, and compofed his fubjects with great readinefs ; 
 his manner refembled that of Tintoretto, but his compofition had lefs fire, and lefs variety 
 in the contours of his figures. His defign was correct, and his works had a confiderable 
 degree of elevation. His colouring approached near to Tintoretto, and his pencil was 
 free; but his draperies appear too much broken in the folds; and although in many refpects 
 he had great merit, yet he feems to want grace and expreffion. 
 
 Simon de VOS. 
 Painted Hi/lory, Portraits, and Huntings, 
 
 He was born at at Antwerp, in 1603, but the mafter by whom he was inftructed is not 
 mentioned. He occupied himfelf continually in ftudying every thing that might promote 
 his knowledge in his profeffion, and was one of thofe mafters who took pains to make 
 the deepeft refearches into the true principles of the art. 
 
 He painted hiftory equally well in large and in fmall fizes ; his pencil is free ; his 
 touch light and firm; his colouring in general lively and agreeable, producing a good 
 effect. His figures were well defigned, although fometimes a little too much conftrained 
 in the attitudes ; and he often wanted elegance and dignity in his ideas, as well as grace 
 in the airs of his figures. But he (hewed extraordinary force and nature in his pictures 
 of the chace; and one of his compofitions in that ftyle is in the cabinet of the Elector 
 Palatine. Houbraken obferves that Simon de Vos was alive in the year 1662. 
 
 Paul de VOS. 
 
 Painted Huntings and Battles. 
 
 He was born at Hulft, in Flanders; and having obtained a competent degree of (kill 
 in his own country, he travelled through feveral parts of Italy and Spain, and every where 
 met with refpect, on account of his merit, as well as in defigning as colouring. His 
 ftyle of painting was battles, and huntings of the wild boar and other game ; and as he 
 always painted after nature, his animals of every kind were correctly drawn, and their 
 actions and attitudes had abundance of fpirit and fine expreffion. 
 
 As he ufually painted in a large fize, his pictures were moftly the ornaments of magni- 
 ficent halls in the palaces of the great ; and at prefent very few of them are to be met 
 with, as the Emperor, the King of Spain, and the Duke of Arfchot, purchafed the greateft 
 part of his works at very high prices. 
 
 4 Z 2 
 
V o s 
 
 [ 732 ] 
 
 V o s 
 
 John VOSTERMAN. 
 Painted Landfcapes. 
 
 DIED 1693, AGED 50. 
 
 He was born at Bommel, in 1643, and learned the rudiments of the art from his father, 
 who was a portrait-painter ; but he obtained that excellence to which he afterwards arrived 
 from Herman Sachtleven, with whom he ftudied as a difciple. Nor had he been very long in 
 the fchool of that eminent artift, before he equalled his inftructor; and as he advanced in 
 practice, he proved himfelf fuperior not only to Sachtleven, but to all his cotemporaries. 
 
 Though the merit of Vofterman was confeffedly very great, yet, unhappily for himfelf, 
 his vanity was ftill greater; and inftead of purfuing his profeflion, by which he might 
 have lived in honour and affluence, he confumed his time and his fortune, by affuming 
 the appearance of a perfon of rank ; being attended, while he refided in France, by a great 
 number of domeftics in rich liveries, frequenting the houfes and aflemblies of the great, 
 and fquandering his patrimony in many oftentatious follies. 
 
 Reduced at laft by fo indifcreet a courie of life, he turned his attention to England; 
 fame having deservedly celebrated the natives of that kingdom for being, beyond all other 
 nations, generous and liberal to diftinguifhed merit in any art or fcience. He undertook 
 the voyage, and his reception anfwered his warmeft expectations, for he was foon made 
 known to King Charles II. and employed by many of the principal Nobility. That 
 beautiful view of Windfor, which is ftill preferved in the royal collection, is the molt 
 remarkable picture of his painting during his refidence in England. The King and the 
 whole Court were charmed with it, and the price expected by Vofterman for it was two 
 hundred pounds. However it is affirmed that he received but a fmall part of that fum ; 
 and as he could not be influenced to difcontinue his expenlive manner of living, what he 
 earned was infufficient to anfwer his demands, and he was thrown into prifon. Yet the 
 King's neglect of Vofterman happened to be compenfated by the benevolent zeal of the 
 Englifti artifts, who difcharged his debts, and reftored him to liberty. 
 
 He furpafled, by many degrees, all the landfcape-painters of his time in neatnefs of 
 touch and delicacy of finifhing. His tafte was Flemifh; but he worked up his pictures 
 in an exquifite manner, and enriched them with fmall figures, which had wonderful truth 
 and exactnefs. His fcenes are always well chofen, and generally are views of the Rhine, 
 defigned with all poffible accuracy. In his views he conftantly reprefents a large extent 
 of country, diverfified with hills, lawns, groves, and lovely windings of the river; and 
 artfully comprifed the moft extenfive fcenes in a fmall compafs. His tone of colouring 
 is extremely pleafing, and like nature; his touch is tender, yet full of fpirit ; and the 
 boats and veflels which appear on the river, are not only drawn correctly, but they are 
 fo placed and proportioned as to delude the eye agreeably by their perfpective truth. 
 
 That the works of Vofterman are at prefenc in the higheft efteem is fufficiently evident, 
 from their being bought up by the beft judges of painting, almoft at any price. He 
 
 accom- 
 
V O U [ 733 3 V O U 
 
 accompanied Sir William Soamcs, the Engltfh AmbafTador, when he was fent by 
 James II. to the Ottoman Court ; intending, as he travelled in the train of the Ambaf- 
 fador, to fketch the moft beautiful prof'pects in that part of the world ; but as Sir William 
 died in the voyage, the noble fcheme of Vofterman, and the curiolity as well as the enter- 
 tainment of the public, were by that accident unluckily difappointed. 
 
 Simon VOUET. 
 Painted Hijlory and Portrait, 
 
 DIED 164I, AGED 59. 
 
 He was born at Paris, in 1582, and inftructed in the principles of painting by his 
 father Laurence Vouet, by profeflion a painter, but one of very moderate abilities ; yet 
 Simon, by having a good natural genius, and having alfo opportunities of feeing many 
 capital paintings of the ben: mafters, among the collections at Paris, obtained a confiderable 
 degree of improvement. 
 
 While he was but a youth he was made known to Cardinal Barberini, who was Nuncio 
 at Paris ; he had the good fortune to be patronized by him; and when that Cardinal was 
 exalted to the Papacy, Vouet flattered himfclf with an expectation of deriving great 
 advantages from his favour and protection, and on that account went directly to Rome. 
 The Pope and his nephews careffed Vouet exceedingly ; they enabled him to purfue his 
 ftudies with ardour and fatisfadtion, and conferred on him many marks of real efteem. 
 Thus fituated, he ftudied induftrioufly after nature, and endeavoured to imitate it with 
 fidelity. He painted many portraits and hiltorical compofitions during his reiidence at 
 Rome for fourteen years; and if we may rely on the teftimony of Sandrart, no French*, 
 painter before Vouet made fo fuccefsful a progrefs, or fo refpectable a figure at Rome. 
 
 At firft he fixed on Caravaggio and Valentino as his models ; but he afterwards quitted 
 their manner and ftyle for another which he formed, that was peculiar to himfelf, and 
 which he found to be more expeditious, though it had much lefs force than the firft. He 
 had a ready invention, and having ftudied nature, and alfo practifed in the academy, he 
 was generally correct in his drawing. His pencil was light and lively; and his attitudes 
 had fomewhat very pleafing, and fometimes they had a degree of elegance ; but his 
 colouring was bad, having abundantly too much of the white, or (as the painters term 
 it) the mealy; and his figures fhew no expreftion of the pa/lions of the foul. He feemed 
 to content himfelf with giving a certain air to his heads, which he frequently painted 
 in profile, and a turn which he intended for grace, though it had little or no meaning; fo 
 that he became a mannerift in all his compofitions, particularly in regard to the hands, 
 the fingers, and the heads of his figures. 
 
 The tafte which Vouet introduced into France by his ftyle of painting, although 
 unnatural, is ftill followed by the artifts of that country; and it is ftill doubted whether 
 they will ever be able to diveft themfelves of it. He was accuftomed to employ his 
 2 difciple 
 
V O Y 
 
 [ 734 ] 
 
 V R A 
 
 •difciples (of which he had a great number) to paint his defigns, which he afterwards 
 retouched} and that pra£tice, though it increafed the number of his works, diminifhed their 
 value. But thofe pictures which were entirely of his own hand, have a different degree 
 of merit, and are proportionably more efteemed. 
 
 He had no genius for grand compofitions, nor had he any great knowledge of perfpe&ive ; 
 and as to the union of colours, or the true principles of light and fhadow, his works 
 evidently fhew that he was not fufficiently mafter of thofe points. 
 
 Ary de VOYS. 
 
 Painted Hi/iory and Portrait. 
 
 He was born at Leyden, in 1641, and at firft was the difciple of Nicholas Knupfer, 
 ■a good painter at Utrecht j but he ftudied afterwards in the fchool of Abraham Vanden 
 Tempel. Yet although each of thofe mafters had a confiderable fhare of merit, he 
 affumed a manner of his own, different from both, which was very much commended and 
 approved. 
 
 He was naturally Studious, and applied himfelf with uncommon diligence to his pro- 
 feflion, till he was diverted from it for three whole years, by marrying a wife that was very 
 rich } and being by that means enabled to indulge himfelf in a life of idlenefs, extravagance, 
 and diflipation. But when he refumed his pencil, after fo long an intermiflion, there 
 was not the leaft perceptible alteration to his difadvantage, either in his handling or 
 .colouring. 
 
 In painting naked figures he particularly excelled, and enlivened his landfcapes with 
 fuch figures; choofing generally fome fubject from fabulous hiftory. He alfo painted 
 fubje&s felccted from the Greek and Roman hiftorians, with great fuccefs ; his figures 
 being well defigned, and correctly drawn. The pictures of de Voys were fold at a large 
 price, and yet there was fuch a demand for them, that his hand could not poffibly furnifh 
 the public with a fumcient number ; for they were admired by the ableft judges of painting, 
 as being well defigned, well coloured, and ingenioufly compofed. He was naturally of an 
 indolent temper; and it is much lamented, that, by fuch a turn of mind, few of his works 
 are now to be procured. Sometimes he imitated the manner of Poelemburg, fometimes 
 that of Brouwer, and frequently he painted in the ftyle of Teniers. 
 
 The hiftory of Dido and JEneas hunting, when they are overtaken by the ftorm, is 
 commended for being an excellent performance, both in refpect of the defign and the 
 colouring, as alfo a picture of St. Cecilia performing on a mufical inftrument; and Hou- 
 braken mentions his having feen a pi£lure of a foldier, painted by de Voys in a fmall fize, 
 which, for its merit in the handling, colouring and defign, was worthy of being placed 
 among the beft works of -the Flemifh mafters. 
 
 TRANX. Vid. Sebastian Franks. 
 
 John 
 
V R I 
 
 C 735 ] 
 
 V R O 
 
 John Fredeman de VRIES. 
 Painted Perjpeclive. 
 
 This matter was born at Leeuwaerden in Frifeland in 1527, and for five years was the 
 difciple of Renier Gueritfen at Amfterdam; but afterwards he ftudied under another mailer, 
 with whom he practifed perfpective and architecture. Having at length commenced 
 artift, he proceeded to Antwerp, and in concurrence with other artifts painted the triumphal 
 arches erected in that city, , for the entry of the Emperor Charles V. From thence he 
 travelled to Mechlin, where he finifhed feveral fine pictures in perfpective; and likewife 
 corrected and improved fome paintings in that ftyle, which had been begun by Cornelius 
 de Vianen, but were heavy and cold in the colouring. And the fkill which de Vries 
 manifefted on that.occalion, gained him very great appiaufe. 
 
 A very. memorable painting by this mafter, was for Gilles Hofman at Antwerp. He 
 reprefented, on a wall fronting the entrance,, a villa, through which appeared an elegant 
 garden, laid out in noble parterres. That performance was fo amazingly like nature, , 
 and the perfpective fo exactly true, that by many it was taken for a real view; and the 
 deception was fo ftrong, that it impofed even on the Prince of Orange, who could fcarce 
 be perfuaded that it was not really what it appeared, till he was convinced by the neareft 
 approach to it. 
 
 In that ftyle of painting de Vries was excellent ; his lights and fliadows were judicioufly 
 conducted, and every object which he introduced in the perfpective views of the infides of 
 rooms, halls, or galleries, was reprefented with all the truth of nature, and finely coloured, 
 with remarkable tranfparence. His works are difperfed through Germany, and the Low 
 Countries, and feveral are to be feen in thefe kingdoms ; they preferve the fame eftimation 
 in which they were originally held, and bring confiderable prices in all parts of Europe, 
 where they are to be purchafed. What frequently adds a much higher value to fome of 
 the pictures of de Vries, is, that other very celebrated mailers painted the figures in his 
 compofitions, which are always well adapted to the perfpective fcenes defigned by de Vries. 
 However, it mull be owned that the ftyle of his architecture is quite German, heavy, and 
 without elegance ; being oftener an imitation of that nature with which he was converfant, 
 than the refult of his own invention or imagination. 
 
 One of the beft pictures of de Vries (in this kingdom), reprefenting the infide of a room, 
 with figures delicately painted, defcribing the Salutation of the Virgin, is in the poffeffioa 
 of Dr. Robinfon. 
 
 Henry CORNELIUS VROOM. 
 
 -Painted Sea-ports, Calms, Storms, and Sea-fights. 
 
 He was born at Haerlem, in 1566, the fon of a flatuary, who died when Cornelius was 
 very young; and his mother having afterwards married Cornelius Henrickfen a painter, 
 he learned the art of painting under, his direction; till at Iaft finding himfelf too harlhly 
 5 treated 
 
VRO 
 
 E 736 ] 
 
 W A A 
 
 treated by his ftepfather, he quitted Haerlem, and went to Rotterdam, to obtain more flcill 
 in his profeffion. 
 
 Either from a difpofition naturally reftlefs, or perhaps from a defire to improve himfelf, 
 he went to Spain, where he fpent fome time with a Flemifh painter of no great note, who 
 refided at Seville; and afterwards he travelled to Rome. There he* had the good fortune 
 to be taken into the fervice of Cardinal de Medici, and for two years worked in fiis palace . 
 having, in that time, finifhed feveral large compofitions. But, by his eftablifhment in the 
 Cardinal's family, he had frequent opportunities of converfing with Paul Bril, and received 
 fignal advantage from his intercourse with that eminent artift. From Rome he vifited 
 Venice, Milan, Genoa, and other cities of Italy, and returned to Haerlem, where he very 
 induftrioufly followed his profeffion ; but intending to difpofe of fome of his works of Spain, 
 he was fhipwrecked in the voyage, and by a fuccefsful endeavour to reprefent the ftorm 
 in which he fuffered, the picture of it fold for fo unexpected a price, that he no longer 
 hefitated to make thofe kind of fubjects his entire ftudy and employment. 
 
 This mafter was fixed on to draw the defigns of the engagement between the Englifh 
 and the Spanifh Armada, in 1588 ; and he executed that fubject in ten pictures, intended 
 as patterns for tapeftries, each piece containing the defcription of the particular incidents 
 of each day. Thofe defigns were at that time much commended ; though it muft be 
 allowed that he difpofed his veflels injudicioufly in moft of his compofitions; for his veflels 
 are defigned without grace or elegance, as to their forms ; and by his wanting a competent 
 knowledge of perfpective, he placed the horizontal line fo high, that it deftroyed the 
 diftance which he wifhed to exprefs ; becaufe, the more any horizontal line is depreiled, 
 the more remote all objects muft neceftarily appear. His works are now in no great 
 efteem. 
 
 W. 
 
 Lucas de WAAL, or Wael. 
 Painted Battles and Land/capes. 
 
 DIED 1676, AGED 85. 
 
 He was born at Antwerp, in 1591, and ftudied the art of painting under his father, 
 John de Waal, who was an artift of confiderable note ; but he afterwards became the 
 difciple of John Brueghel, whofe manner he followed with great fuccefs, and his pictures 
 contained a greater variety than thofe of his mafter. He fpent feveral years in Italy, and 
 particularly at Genoa, with his brother Cornelius de Waal, where he finiihed many noble 
 
 defigns 
 
W A A 
 
 C 737 J 
 
 W A L 
 
 defigns in frefco as well as in oil. He painted battles in an excellentftyle, and defigned 
 feis figures with fpirit and good expreflion. But his particular merit was fliewn in hia 
 landfcapes, in which he introduced great variety of fteep precipices, craggy rocks, water- 
 falls, torrents, and other picturefque incidents, much in the manner of Brueghel, each 
 object being very happily imitated, and extremely natural. 
 
 Cornelius de WAAL, or Wael. 
 
 Painted Battles and Landfcapes. 
 
 DIED l662, AGED 68. 
 
 He was the fon of John, and brother to Lucas de Waal ; born at Antwerp, in 1594, 
 and learned the art of painting from his father. His landfcapes were highly efteemed for 
 the choice of his fituations, for the judgment he fhewed in conducting his diftances, and 
 for excellent keeping. But the fubjects in which he appeared moil: eminent, were battles 
 and fea-fights, in which the joy and exultation of the victors, and the dejection and terror 
 of the vanquiflied, were ftrongly exprefled. He filled his defigns with an abundance of 
 figures, which he grouped and difpofed with great lkill. His invention was lively and 
 fruitful; his pencil free, and very mafterly; and an agreeable manner of colouring recom- 
 mended his pictures to the beft judges of his time. Though it muft be confeffed, that his 
 tafte is entirely Flemifh, in the airs and forms of his figures, in their habits, their 
 characters and countenances, and alfo in his cattle. 
 
 However, from an eager defire to improve himfelf, he travelled to Italy ; and in fome 
 of the principal cities was employed by perfons of the firft rank, and by his paintings 
 acquired honour and riches. The Duke D'Arfchot appointed him his principal painter; 
 and for Philip III. King of Spain he finifhed feveral grand compofitions of battles, extremely 
 to the fatisfaction of that Monarch, and his whole Court. 
 
 Houbraken mentions with great approbation one picture of de Waal, which he faw at 
 Amfterdam. The fubject of it is, the ftorming of a fortification; with a vaft number of 
 figures, well defigned, and with good expreflion. He takes particular notice of a com- 
 manding officer in the front, mounted on a dappled grey horfe, and efpecially notices 
 a figure in black armour, at fome diftance, riding among a throng of foot foldiers, which 
 he feems encouraging to rufli on to the attack ; and the whole had a good effect. According 
 to Houbraken's defcription, that very picture hath fince his time been imported into this 
 kingdom, and is at prefent in the pofTeffion of Doctor Robinfon. 
 
 Robert WALKER. 
 Painted Portrait. 
 
 DIED 1658. 
 
 He was an Englifli artift, who improved himfelf by ftudying the works of Vandyck; 
 end, during the ufurpation, was much efteemed by the republican party, and painted the 
 portraits of Oliver, and all the principal officers of his army. The moft memorable cir- 
 
 S A cumftance 
 
W A S 
 
 t 738 3 
 
 WAS 
 
 cumftance in the life of this mafter is, that one of his portraits of the Protestor was 
 accidentally fold, for five hundred pounds, to the Duke of Tufcany's refident in London ; 
 but whether he paid that immenfe price out of compliment to the pride and power of 
 Oliver, or to the merit of the performance, may eafily be conjectured, when it is confidered 
 that the tranfaction happened while the power of the ufurper fubfifted. 
 
 He painted the portraits of Lambert and Cromwell, in one picture, which was In the 
 pofleffion of the Earl of Bradford ; and the portrait of himfelf, painted by his own hand, is 
 faid to be placed in the founder's gallery, near the public library at Oxford. 
 
 John Abel WASSENBERG. 
 Painted Hi/lory and Portrait. 
 
 DIED I75O, AGED 6l. 
 
 He was born at Groeningen, in 16895 and having fpent fome time in defigning, he was 
 placed as a difciple with John Van Dieren. But his principal knowledge in the art of 
 painting was derived from the precepts of Vander Werf, who taught him the beft manner 
 of penciling and colouring j and, by a clofe application to his profeflion, he foon qualified 
 himfelf to appear with great credit in the world. 
 
 Having completed his ftudies at Rotterdam, he returned to his native city, and was 
 employed in feveral confiderable works in the falons and grand apartments of the Nobility ; 
 for which he compofed hiftorical defigns, and interfperfed them with portraits painted in 
 a good ftyle, well coloured, and with a ftrong likenefs. Thofe works procured him great 
 approbation, and recommended him to the notice of the Prince of Orange, who employed 
 him to paint the portraits of himfelf and his Princefs, as alfo the chief ladies of his Court. 
 
 But, befide the compofitions which he finifhed in a large fize, he alfo painted eafel 
 pictures, which he worked up with exquifite neatnefs : and it feemed fome what extra- 
 ordinary that an artift, who was fo generally accuftomed to large works, whofe effect on 
 the eye mull be at a diftance from the painting, could adapt his touch, his tints, and his 
 handling, to fuch fmall works as required the neareft view to obferve their beauties, and 
 yet in each ftyle to fliew himfelf equally a mafter. 
 
 Among feveral of his fmall-fized pictures, a Nativity is particularly mentioned, which in 
 every refpect is charmingly executed. 
 
 Anna WASSER. 
 Painted Portraits in Miniature^ and Pajloral Subjetls. 
 
 DIED 1713, AGED 34. 
 
 She was born at Zurich, in Switzerland, in 1679, being the daughter of Rudolph WafTer, 
 a perfon of confiderable note in his own country. She had the advantage of receiving 
 very early a polite education j and as fhe fhewed a lively genius, particularly in defigning, 
 flie was placed under the direction of Jofeph Werner, at Berne. At firft he made her 
 
 ftudy 
 
WAS [ 739 ] WAT 
 
 ftudy after good models, and copy the beft paintings he could procure, that he might form 
 a true judgment of her talents ; but, after he had inftrucled her for fometime, having feen 
 a copy which fhe had finifhed of a Flora, after a picture of his own painting, it aftonifhed 
 him to fee fuch correctnefs and colouring in fo young an artift, as fhe then was only 
 thirteen years of age. 
 
 She painted at firft in oil, with very promifing appearances of fuccefs ; but afterwards 
 fhe applied herfelf entirely to miniature, for which indeed nature feemed to have furniihed 
 her with peculiar talents. Her work in that ftyle foon procured her the favour of moil 
 of the Princes of Germany, and the Nobility of Holland ; and the Duke of Wirtemberg, 
 in particular, fent the portraits of himfelf and his fifter in large, to be copied in miniature 
 by her hand ; in which performance (he fucceeded fo happily, that her reputation was 
 effectually eftabliflied through all Germany. 
 
 Though, by the influence of her father, fhe was prevailed on to devote moft of her time 
 to portrait-painting, as thofe kind of pictures produced a much greater, and a more imme- 
 diate profit to his family, yet her favourite fubjects were thofe of the paftoral kind, in 
 which fhe difplayed the delicacy of her tafte, in invention and compofition, in the elegance 
 of her manner of defigning, and in giving fo much harmony to the whole as never failed 
 to afford rJleafure to the moft judicious beholders. But, in all her fubjects, fhe difcovered 
 a fine genius, an exceeding good tafte, and agreeable colouring. 
 
 Anthony WATERLOO. 
 Painted Landfcape. 
 
 Houbraken and Weyermans, the principal Dutch authors who write any thing relative 
 to Waterloo, make no mention of the place or time of this artift's nativity, nor of the 
 mafter by whom he was inftructed in the art of painting ; but they take notice, that by 
 fome it is faid he was born at Amfterdam; and as pofitively affirmed by others, that he 
 was born at Utrecht, near which city, and in it, he fpent the greateft part of his life. 
 However, his ftyle fufficiently diftinguifhes him from any of his cotemporaries, and his 
 merit entitles him to a place among the beft painters of the Low Countries. 
 
 His fcenes are agreeable reprefentations of fimple nature, though he wanted (kill to 
 afliff. or improve it; he imitated juftly what he faw, but wanted elegance in his choice of 
 objects, as well as in the choice of his fituations ; yet truth and nature are vifible in all his 
 performances. There is generally a great degree of clearnefs in his ikies, and very good 
 keeping in refpect to his diftances ; he fhews an extraordinary variety in the verdure of 
 the trees and grounds which compofe his fubjects; and he adapted them very judicioufly 
 to the different hours of the day, as alfo to the different feafons of the year. The trunks 
 of his trees are particularly laboured, and the reflections of objects in the water are 
 wonderfully tranfparent. 
 
 Several of the landscapes of Waterloo have no figures, becaufe he was confeious of his 
 want of ability to execute them in fuch a manner as to add any degree of honour to the 
 
 5 A 2 reft 
 
WAT 
 
 I no J 
 
 WAT 
 
 /eft of the work; and therefore he procured Weeninx to infert the figures and cattle in 
 many of his lan dfcapes, , which at prefent adds confiderably to their value. In his own 
 time his pictures were eagerly purchafed, and at large prices ; nor are they, even at this 
 day, held in lefs eftimation ; but his paintings are now very rarely to be purchafed, though 
 he has left abundance of excellent drawings, and etch-ed a great number of his defigns^ 
 which have a great deal of fpirit, and are true nature. 
 
 Anthony W A TTE AIL 
 Painted Conversations^ Landfcapes^ and Encampments of Armies. 
 
 DIED 1721, AGED 37. 
 
 He was born at Valenciennes, in 1684, and received fomeinftruftions from an indifferent 
 painter, who refided in that town. ButWatteau, who neither wanted genius nor application, 
 foon obtained fufficient fkill to perceive the incapacity of his inftructor, and therefore quitted 
 him, and placed himfelf with another, whofe principal employment was defigning theatrical 
 decorations ; and for a fhort time he affifted that mafter in the ornaments of the Opera* 
 houfe at Paris, But, being afterwards left deftitute and unknown in that great city, h« 
 laboured under fuch difficulties, that, to procure an immediate maintenance, he' was com* 
 pelled to work for the fhops, and, with all his induftry, could fcarcely get even a poor 
 fubliftence. 
 
 While he was in that wretched fituation, he accidentally became intimate with Claude 
 Gillot, who was in good efteem for his defigns in the grotefque ftyle, though in other 
 refpe£t,s he was accounted but.an indifferent painter, and very incorrect. Gillot conceived 
 fuch a friendfhip for Watteau, that he freely communicated to him all the obfervations he had 
 made in the art, and every precept by which he formed his own tafte, and in fhort inftructed 
 him to the utmoft of his ability; fo that Watteau foon equalled his mafter in invention and 
 readinefs of execution, till at laft he exceedingly furpaffed him. For, as he in a fhort time 
 had accefs to the Luxembourg gallery, by being employed under Audran, he was ftrongly 
 affected with viewing the works of Rubens ; he ftudied them with attentive pleafure ; he 
 acquired new ideas of light and fhadow, and of the true beauty of colouring, to which 
 before that time he had been totally a ftranger. Immediately he quitted his former tafte 
 of defign derived from Gillot, and affumed another in its ftead, peculiar to himfelf, that was 
 more elegant, and more correct. 
 
 From that period the reputation of Watteau increafed daily; though, as his manner of 
 thinking, competing and colouring, was quite new, his performances were neither fo much 
 admired nor coveted, while he lived, as they have been fince his death ; and they feem to be 
 ftill increafing in their value. He hoped to have added to his fortune and credit, by vifiting 
 London : but the bad ftate of his health during his continuance in that city, which was but 
 for one year ; the novelty of his ftyle, which at firft feemed rather to furprife agreeably than 
 immediately to excite either admiration or applaufe ; and perhaps his not being fufficientl.y 
 
 known 
 
WAT f 74i ] WEE 
 
 known to thofc who were the beft judges of the art; thofe feveral circumftances might- 
 have contributed to his not having experienced in England fuch an encouragement as. 
 was proportioned to his merit. 
 
 Me accuftomed himfelf to copy the works of the beft artifts, and made the colouring 
 of Rubens and Vandyck always his models. He was indefatigable in defigning, never 
 permitting his pencil to be unemployed;, as may readily be conjectured, from the great 
 quantity of works which he lketched and finifhed. His fubjects are generally comic 
 converfations, the marchings, haltings, or encampments of armies, landfcapes, and 
 grotefques., all which he finifhed with a free, flowing pencil, a plealing tone of colour, a. 
 neat and fpirited touch, and they are alfo correctly defigned. The figures which he 
 introduces in his compofitions, in whatever character he defigns them, have a peculiac 
 grace in the airs of the heads, and fomewhat becoming in their attitudes; their actions 
 are eafy. and natural, and they are always agreeably and fkilfully difpofed. The colouring 
 of his landfcapes is lively, his trees are touched with a fingular freedom, and the whole 
 together has a charming effect; 
 
 Although the compolitions of Watteau cannot be juftly confidered as of the firft rank, 
 yet they have their particular merit ; and, in their way, have a degree of excellence 
 which no fubfequent artift has yet equalled, and they feem to advance daily in the efteem 
 of the public. 
 
 Anselme WEELING.. 
 Painted Portraits, Converfations, and Hijlory. 
 
 DIED I749j AGED 74. 
 
 He was born at Bois-le-duc, in 1675, and learned the art of painting from oneDelang, 
 a portrait-painter of very low rank, to whom in a fhort time he fhewed himfelf fuperior; . 
 for it may be often obferved, that many excellent painters have been difciples to very 
 indifferent mafters, and have owed their, future eminence to the powers of their own 
 genius, and their afliduity in ftudying after nature. 
 
 Weeling foon quitted Delang, not without feeling a confeious pride oa obferving the 
 fuperiority he had gained over his inftructor ; but going to Middleburgh, and feeing fome 
 fine original paintings of different mafters, which were there in the poffeflion of a picture 
 merchant, he was mortified to find himfelf fo inferior in every refpect to what might be 
 expected from a good artift ; it almoft reduced him to a defpair of ever fucceeding in his 
 profeflion, and made him refolve to. fix his refidence in the Eaft-Indies. However, the 
 merchant encouraged him, and recalled him from his defpondency, by offering him the 
 opportunity of ftudying after the beft paintings in his collection; and he kept him in his 
 houfe for two years, copying the works of thofe great men who, were the beft models 
 for the improvement of his tafte, his colouring, or his handling. 
 
 From that time he became uncommonly induftrious, and at laft compofed and finifhed 
 Several pictures, in the ftyle of Vanderwerf and Schalcken, which were very highly 
 
 commended, 
 
WEE [ 742 ] WEE 
 
 commended, and immediately bought up at large prices. It was then in his power to 
 have eftabliflied his fortune and his reputation ; but, by fome unaccountable infatuation, 
 he grew diflblute, and loft not only the efteem of the public, but forfeited alfo the favour 
 of his beft friends. His manner of life proved to have a great influence on all his latter 
 productions; for they are by no means equal to thofe of his early time; and by a neglect 
 of his practice, and a difregard to his moral character, he was reduced to the utmoft 
 wretchednefs and want before he died. 
 
 His tafte of defign and colouring was very good, and his knowledge of the chiaro- 
 fcuro very extenfive; for which reafon many of his fubjedts reprefent figures by candle- 
 light. His firft and beft works, after his ftudies at Middleburgh, are as much commended 
 and coveted, as his latter works are difliked and contemned. 
 
 John Baptist WEENINX, called the Old. 
 Painted Land/capes, Portraits, Animals, and Flowers. 
 
 DIED 1660, AGED 39. 
 
 He was born at Amfterdam, in 162.1, and placed as a difciple with Abraham Bloemart, 
 who was excellently qualified to give him every neceftary inftruction ; and his pupil 
 received proportionable improvement. Weeninx laboured inceffantly, and fhewed a careful 
 attention to the precepts of his mafter; but he daily increafed his knowledge, by ftudying 
 nature, and defigning every object that appeared worthy of being inferted in his future 
 compofitions. Particularly he was fond of making {ketches after elegant buildings that 
 were entire, or of caftles that were ruinous and decayed, as alfo mips and animals of all 
 kinds, by which method of practice he rendered himfelf an univerfal painter. 
 
 .After he left the fchool of Bloemart, he fpent fome time with Nicholas Moojart, and 
 adopted his manner fo effectually, that it was fcarce poflible to diftinguifh the work of 
 the one from the work of the other. He alfo fpent four years at Rome, where he was 
 patronifed by Cardinal Pamphilio, who wifhed to detain him in that city, and engaged 
 him in the fervice of the Pope; but the importunity of his wife, and the joint folicitation 
 of all his friends, induced him to return to his native country. 
 
 He excelled equally in hiftory, portrait, animals, fea-ports, and landfcapes ; and every 
 fubject he painted was agreeably executed, with an excellent tone of colour ; but his 
 portraits, in particular, had force, freftinefs, and great refemblance. His pictures of the 
 larger fize are in general accounted better than thofe in a fmall ; for he found it difficult 
 to adapt his pencil to fuch different proportions, with fuch neat exactnefs as could be 
 wifhed. And yet there are fome fmall pictures of his hand, which appear as delicately 
 finifhedas fome of Gerard Douw, or Mieris; though, on a judicious infpection, they are 
 found lefs pirited, and lefs exquifite, than the works of either of thofe mafters, and the 
 •jfigures want corxectnefs and elegance. 
 
 He 
 
WEE C 743 ] WEE 
 
 He painted with a furprifing and almoft incredible expedition, having very often not 
 only fketched, but finifhed a picture five or fix feet high in the compafs of one day ; and 
 particularly he finifhed one, reprefenting a bull baited by dogs, painted after nature, in that 
 fpace of time. It is alfo afierted, that in one fummer's day he begun and entirely 
 finifhed three portraits on canvas, of a three-quarter fize, and the heads were full as 
 large as life. 
 
 Houbraken mentions a very capital picture of this mafter, of which the fubject was 
 the Prodigal Son, which he defcribes as being excellent in the invention and compofition, 
 and touched with a mellow and a charming pencil. 
 
 John WEENINX, called the Young. 
 Painted Landfcapes^ Animals, Huntings, and Dead Fowl. 
 
 DIED I7ICJ) AGED 75. 
 
 He was the fon and difciple of John Baptifl Weeninx, born at Amfterdam, in 1644; 
 but although his father exerted all his induftry to improve him in every branch of his 
 profeflion, yet the moll efTential part of his fkill was derived from his incefTant ftudy of 
 nature. He painted as great a variety of fubjects as his father, and with great fuccefs. 
 The pictures of his firft time can fcarce be diftinguifhed from thofc of John Baptifl: 
 Weeninx; nor is it poiTible to find fo ftrong a refemblance in the works of any two 
 painters, as to their manner or merit. The younger Weeninx, however, avoided what 
 was moftf exceptionable in the works of his father, which was a predominant grey or 
 brown colour, obfervable in the paintings of that mafter. He alfo had a furprifing power 
 of his pencil, and finifhed with an equal degree of excellence what he painted in a large 
 and a fmall fize. 
 
 The Elector John William, Count Palatine of the Rhine, invited Weeninx to his 
 Court; he allowed hirrt a confiderable penfion; and employed him to adorn the galleries 
 at Benfberg, which he accomplished with very great applaufe; having in one gallery 
 reprefented the hunting of the flag, and in the other the chace of the wild boar. The 
 figures, landfcapes, and animals, were all executed by his own pencil, and equally well 
 finifhed. 
 
 Although the old Weeninx was juftly very much efteemed, yet was he far furpafTed by his 
 fon, whofe ufual fubjects were, animals of every kind, landfcapes, and flowers, and thofe 
 he painted exactly after nature. His colouring was true ; he had the fkill to vary his touch 
 according to every different fubject, without adhering to the ftyle of any particular mafter, 
 either in his pencil or his colour ; and his figures had as much merit in their defign and 
 difpofition, as any other part of his works. 
 
 One of the pictures of the younger Weeninx was fold for three hundred florins, though 
 the fubject was only a pheafant and other game. 
 
 2 Adrian 
 
W E R 
 
 £ 744 ] 
 
 Adrian Vander WERF, Chevalier. 
 Painted Hi/lory, Portraits, and Conventions. 
 
 DIED I727, AGED 68. 
 
 He was born near Rotterdam, in 1659, and received his nrft inftrudtion from Picolet, a 
 portrait-painter ; but he was afterwards the difciple of Eglon Vanderneer, with whom he 
 continued for four years, and made fo happy a progrefs, that before he quitted that mafter 
 he copied a picture of Mieris's painting fo exceedingly exact, that it afforded as much 
 furprife as pleafure to all judges who examined the neatnefs of the penciling, and the 
 truth of the imitation. 
 
 He took pains to improve himfelf, by defigning after the beft plaifler figures he could 
 procure, which were calls from the antique; and acquired a much better tafte of the 
 delicate turn of the limbs, and of the naked in general, than he had hitherto poftefted ; fo 
 that he was introduced into the world at a very early time of life, with all poflible advan- 
 tages. Before he was engaged in the fervice of the Elector Palatine, he employed himfelf 
 in painting portraits in the manner, and alfo in the fize of thofe of Netfcher j but he was 
 foon difgufted with that kind of painting, and applied himfelf entirely to paint hiftorical 
 fubjects in a fmall fize. The Elector, having accidentally feen fome of his performances 
 in that ftyle, conceived fuch a friendfhip for the artift, and fuch a fondnefs for his paintings, 
 that he engroffed the greateft part of his works, and thofe that were molt capital. 
 
 That Prince fhewed Vander Werf every mark of real efteem, and alfo of liberality 
 and beneficence. He conferred on him the order of knighthood, ennobled his defcendants, 
 honoured him with a prefent of a chain of gold and a medal, prcfented him with his 
 portrait fet with diamonds of great value, and allowed him a noble penfion, befides paying 
 him generoufly for his work. And being complimented with a picture of Diana and 
 Califta, by the wife of Vander Werf, he gave Vander Werf, in return, fix thoufand 
 florins, and to his wife a magnificent toilette of filver. 
 
 The genius of this mafter peculiarly directed him to the painting of hiftory in fmall, 
 which he finifhed in a moft exquifite manner. His pencil is tender and fweet, his 
 defign correct, and the roundnefs and relief of his figures appear truly admirable ; but 
 his carnations are not lively, they have fomewhat of a'yellowifh tint; and though, in the 
 polifh of his finifhing, he had no fuperior, yet in moft of his works his colouring is cold, 
 and hath more of the appearance of ivory than of animated flefh. He fpent a great deal 
 <tf time on his pictures, to give them the utmoft tranfparence ; but, by that intenfe labour, 
 the fpirit of his works feemed to be confiderably diminiflied. The pictures of this emi- 
 nent mafter's hand are ftill purchafed at very high prices, and are rarely to be met with; 
 but at this day his paintings do not excite fo great a degree of admiration as they feem 
 *e>4save done in the life-time of their author, though they are very highly prized. 
 
 Peter 
 
W E R 
 
 C 745 ] 
 
 W E R 
 
 Peter V a n d e r W E R F. 
 Painted Portraits, Conversations-) and Hijhry. 
 
 DIED 1718, AGED 53. 
 
 He was born near Rotterdam, in 1665, and was the difciple of his brother Adrian 
 Vander Werf. At firft he copied the works of his brother, with the fame tone of colour, 
 and the fame delicate manner of finifhi-ng ; but afterwards he painted from his own defigns, 
 and thofe were generally re-touched by Adrian, which entitles them to much greater 
 cfteem, than any other of his performances which were entirely of his own hand. 
 
 He painted portraits and convcrfations extremely well ; and, without allowing him to be 
 any way on an equality with his brother, yet he may be confidered as a very able artift j 
 and a fmall picture of his painting was, in the year 17 13, fold at Rotterdam for five 
 hundred and fifty guilders. That picture reprefented three girls playing with flowers j 
 and a copy after a painting of his brother Adrian, which reprefented a Holy Family, was, 
 in the year 173I) fold for eight hundred guilders. 
 
 Joseph WERNER. 
 Painted Hi/lory and Portrait, in Oil, and Miniature, and Frefcih 
 
 DIED I7IO, AGED 73. 
 
 He was born at Berne, in Switzerland, in 1637, andinftructed in the principles of painting, 
 particularly in defign, by his father, who was an artift of good efteem ; but he afterwards 
 was placed as a difciple with Mathieu Merian, at Frankfort. Under that mafter he difco- 
 vered fo apt a genius, and made fo quick a progrefs, that Merian, defirous to have the 
 talents of his pupil properly cultivated, advifed him to perfect himfelf in Italy, and 
 procured for him a friend, with whom he travelled to Rome without any expence. There 
 Werner applied himfelf induftrioully to his ftudies, and not only examined every object 
 by which he could be improved, but took pains to copy and defign the beft productions 
 of ancient and modern art ; and by that means acquired fuch a readinefs of hand, as 
 enabled him to make an incredible number of fketches, and valuable defigns. 
 
 He painted as well in frefco as in oil j but having a predominant inclination to minia- 
 ture, he indulged it, and ever after devoted his pencil entirely to that kind of painting; in 
 which (according to the teftimorty of Sandrart) he arrived at great excellence; and 
 Sandrart, who had feen his works, was an indifputable judge of their merit. 
 
 He painted hiftorical fubjects in miniature with remarkable neatnefs and elegance; they 
 were correctly defigned, and well coloured ; his diftances receded happily ; his figures were 
 finely proportioned, and had good expreflion ; and the whole had a great deal of harmony. 
 But his chief pleafure confifted in painting portraits, which he finifhed in an exquifitq 
 manner, and gave his pictures a moft exact refemblance of his models. 
 
 5 B Fo* 
 
W E Y 
 
 i 746 ] 
 
 W E Y 
 
 For fome years he was employed at the Court of France, where his performances 
 procured him honour; and he afterwards painted the portrait of the Arch-Duchefs at 
 Lnfpruck, for which he was liberally recompenfed, and received the diltinclion of a chain 
 of gold and a medal. But notwithstanding the happy fituation of his affairs, while he 
 lived at Auxbourg, where he was incefl'antly engaged by the Princes and prime Nobility 
 of Germany, yet he was anxious to rcvifit his native city, though, on his arrival there, 
 he found himfelf much difappointed in his expectations; and on that account he foon after 
 accepted of the employment of Director of the Royal Academy of Painting at Berlin, to 
 which he was appointed by a patent from Frederick III. King of Pruffia, with a faiary of 
 fourteen hundred rix-dollars a year. 
 
 Roger Vander WEYDE, galled Roger of Bruges. 
 Painted Hiftory and Portrait. 
 
 He was born at Bruges, about the year*i4i5, and was the difciple of John Van Eyck 3 
 the difcoverer of the art of painting in oil ; but that mafter concealed the fecret of the 
 difcovery from his difciple till within a (hort time of his death, and then fully acquainted 
 him with every particular. From that period Roger began to make himfelf known by 
 many grand compofitions in a large fize, his figures being very well defigned; and he is 
 confidered as one of the firft of the Flemifh artifts who improved the national tafte, and 
 <Jivefted it of the gothic in fome fmall degree ; for he fhewed confiderable grace in the airs of 
 his heads, and was correct in his defign. He was very attentive to the exprefiion of his 
 figures, and in that refpect was generally true. Several Princes, and many of the moft 
 eminent perfons of his time, had their portraits painted by him, and he obtained both fame 
 and fortune by the variety of works in which he was employed. 
 
 He made himfelf very memorable by fome paintings which are in the Town-hall at 
 Bruges, and which have been exceedingly commended. The fubject of one is the exemplary 
 juftice of Trajan executed on one of his foldiers, on the complaint of a mother whofe 
 fon had been murdered by him: the fubject of the other is, Archambrant, Prince of 
 Brabant, ftabbing his nephew, who was his next heir, when he himfelf was near dying, 
 
 for 
 
 * Mr. Defcamps is guilty of an extraordinary overfight in regard to Roger Vander Weyde, which, in fo judicious a 
 writer as Defcamps, feems unaccountable; for, in page 7 of his firft volume, he defcribes Roger of Bruges as a painter 
 who was correct in his manner of defigning, and who gave a competent degree of grace to his figures j without mentioning 
 the year of his death. And yet, in page 33 of the fame volume, he defcribes Vander Weyde in a more particular 
 manner, as if he was a different mafter 5 fixes his death in 1 529, which would make him 1 14 years of age at his death, 
 fuppofing him to have been born (as moft authors teftify) in 1415 5 and he alfo enumerates feveral of his principal per- 
 formances, From whence it appears that Mr. Defcamps concluded Roger of Bruges and Vander Weyde to be different 
 perfons. 
 
 But it is an indifputable fadt that they were only different names for one and the fame perfon ; that ancient mafter 
 being diftinguifhed by the appellation of Roger of Bruges, on account of the city in which he followed his profeflion, as 
 it was alfo.the place oC his nativity j and his real name was Roger Vander Weyde, 
 
W I G 
 
 [ 747 1 
 
 W I O 
 
 for having raviflied a maid of that country. In both h-iflories the painter hath fhewn great 
 abilities and good expreflion ; and in the countenance of the Prince of Brabant there is 
 fomewhat ftrikingly terrible, a mixture of grief and revenge, combined in the face of a 
 dying perfon. 
 
 Gerard WIGMANA, 
 Painted Hijicry. 
 
 DIED 1741, AGED 68. 
 
 He was born at Worckum, in Frifeland, in 1673; and, as as foon as he was qualified to 
 travel, went to Italy, where he ftudied the paintings of Titian, Raphael, and Julio 
 Romano. Thofe he made ufe of as his models,, and for fome time copied and defigned 
 the works of thofe celebrated artifts, with great attention and uncommon labour; fo 
 that, when he returned to Holland, he was enabled to compofe his own fubjects, which 
 he ufually took from fome paiTages of the Roman, Grecian, or fabulous htftorians; and he 
 was fo exceedingly diligent at his work, that though his pictures are finiflied extremely 
 high, yet by his unwearied perfeverance he finiflied a great number of them. 
 
 He was not more remarkable for the delicacy of his pencil, than for his abundant 
 vanity ; he feemed fo fond of lavifhing exorbitant praifes on his own productions, that he 
 neither afforded an opportunity to others to commend them, nor left them even an incli- 
 nation to it i but, by his vain compliments to himfelf, difcredited his work, and difgufted 
 his beft friends, as well as the ableft judges who viewed them. As an inftance of his pride 
 and prefumption, it is aflerted that he demanded near three hundred pounds for one piclure, 
 of which the fubject was the Death of Alexander. It had indeed great merit in feveral 
 parts, but it was not correct in the drawing or defign, and had many imperfections m 
 regard to the difpofition and expreflion; but the price demanded appearing too exorbitant 
 for any judicious perfon to become a purchafer, it was never fold till after his death. 
 He alfo painted the Parting of Hector and Andromache, and many other hiftorical 
 fubjects; but the rates he expected prevented their being fold, though his works were 
 extremely coveted. 
 
 The difappointments which he perpetually met with fo effectually mortified him, that 
 he was at laft induced to vifit London, in hope of greater fuccefs ; but he found that the 
 Englifli nation, though always ready to encourage the appearance of merit, was equally 
 apt to be difgufted by conceit and vanity; he therefore met with no other reception in 
 England, than he had before experienced in his own country* Hov/ever, he certainly had 
 very fingular merit in fome parts of his profeflion, and deferved a much better lot; but 
 he fell a facrifice to his having too exalted an opinion of his own abilities. 
 
 His pictures are for the mod part tolerably well compofed; and his colouring, in which 
 confifted his chiefeft excellence, is remarkably brilliant and tranfparent, and is raoft highly 
 finiflied, with a light, neat, and delicate pencil. But his expreflion is very indifferent; 
 his figures are not elegantly grouped ; the hiftorical characters are never marked with 
 
 5 B 2 fuflicient 
 
W I L 
 
 C 748 ] 
 
 W I L 
 
 fufficient precifion; and his drawing is frequently incorrect. And yet the olearnefs find 
 fw^etnefs of his colouring pleafingly attracts the eye, and may lometimes miflead th<t 
 judgment. He imagined himfelf equal to Raphael, at leaff. in his colouring, and affected 
 to be called the Raphael of Frifeland. 
 
 Adam WILLAERTS- 
 P ainted Storms^ Ca/ms } and Sea-ports. 
 
 DIED 164O, AGED 63. 
 
 He was born at Antwerp, in 1577, and was very much efteemed for having a good 
 knowledge of perfpeclive, a free, light pencil, and an agreeable manner of colouring, 
 except that fometimes it was a little too grey. 
 
 His ufual fubjects were fea-pieces, views of ports, havens, and mores, with fifh-markets, 
 proceflions, or veffels lading or unlading; and in all his compofitions there are a great 
 number of fmall figures, which he generally fketched after nature, and he gave them 
 draperies fuitable to the mode, and to their occupations. Sometimes he reprefented the 
 burning of houfes, mips, and villages, in which fubjects he was allowed to have abundance 
 of merit ; but at prefent his works are not as much efteemed as they have been formerly, 
 becaufe, although there is a competent mare of clearnefs and tranfparence in many of 
 his pictures, there is alfo fomewhat dry and ftifF in his manner; his figures want grace and 
 elegance; and though his fcenes and veffels, as well as his figures, were copied from 
 nature, his choice was frequently not commendable.. He had a fon, 
 
 Abraham WILLAERTS. 
 
 who was born at Utrecht, in 1613 j and who fucceffively was the difciple of his father, 
 of John Bylert, and alfo of Vouet ; and he continued for feveral years in the fervice of 
 Prince Maurice. 
 
 WILLEBORTS. Vid. Boschaert. 
 
 John WILDENS. 
 
 Painted Land/capes and Figures. 
 
 DIED 1644, AGED 6o. 
 
 He was born at Antwerp, in 1584, but the matter under whom he was inftructed is 
 not mentioned. He ftudied every object, after nature, and became an excellent painter of 
 landfcape. His fkies, trees, grounds, and waters, are all true imitations of what he had 
 obferved in his walks through the country ; and every thing he painted was lightly and 
 freely executed. 
 
 Wildens was very much efteemed by the public, when Rubens, obferving his merit, 
 attached him to himfelf; and the approbation of fo admirable an artift is more than., a 
 
 thoufand 
 
W I L [ 749 ] WIN 
 
 thoufand encomiums of other lefs able judges in favour of Wildens. Rubens employed 
 him, as well as Van Uden, to paint the b^ck-grounds of his grand compofitions, where 
 landfcape was neceflary ; and he commended him extremely for adapting his tone of 
 colour to the reft of the defign, and to the neighbouring tints, with fuch accuracy and 
 judgment, that the work of Wildens and Rubens harmonized as happily as if their com- 
 bined labours had only been executed by one pencil. 
 
 He had a good genius, and his choice of nature was exceedingly agreeable ; his execution 
 was very ready, and in that refpect he was fuperior to Van Uden; he had fomewhat 
 pleafing and natural in his colouring, and he defigned and painted the figures in his 
 landfcapes in a good ftyle. Two of the moft capital paintings of Wildens are in the 
 chapel of St. Jofeph at Antwerp ; the fubject of one is, the Flight into Egypt, and of the 
 other j the Repofe of the Virgin, with angelic beings miniftering to her. The landfcape 
 in thofe pictures appears fuperior to any of the works of Wildens; and the figures were 
 painted by Lang Jan, but they have all the beauty, delicacy, and grace of Vandyck, 
 
 Michael WILLEMANS. 
 Painted Hi/lory. 
 DIED 1697, AGED 67. 
 
 He was born at Lubeck, in 1630, but travelled to Holland to obtain a proper inftructor. 
 in the art of painting, and for fome time ftudied under Backer; yet afterwards he was the: 
 difciple of Rembrandt. Under the direction of that great matter he applied himfelf 
 induftrioufly ;, and having by his own practice, as alfo by the precepts and example of 
 Rembrandt, improved himfelf confiderably, he returned to his native city, and gradually 
 became very eminent.. 
 
 One of his moft celebrated pictures, is Vulcan forging the Arms of Mars, which he 
 painted for the Elector of Brandenburg, at Breflau ; but there are few of the churches, 
 or palaces of the Nobility in Germany, , which are not adorned with fome of the paintings 
 of Willemans. 
 
 Joseph Van WINGHEN, called the Old. 
 Painted Hi/lory. 
 
 DIED 1603, AGED 6l. 
 
 He was born at BrufTels, in 1542, and went while he was yet very young to Rome, to 
 purfue his ftudies ; and having ipent four years in designing the greateft cUriofities of 
 that city, and received a proportionable degree of improvement, he returned to his native 
 city, where his remarkable talents procured him the favour of the Prince of Parma, who 
 took him into his fervice, and appointed him his principal painter. 
 
 Among the beft pictures of this mafter a Laft Supper is mentioned, of which Van 
 Mander writes in high terms; and there is, in the cabinet of the Emperor, a fine defign 
 
 by 
 
W I N 
 
 [ 750 ] 
 
 W I S 
 
 by Van Winghen, reprefenting Apetles falling in love with Campafpe while he painted 
 her pidture. But the work which contributed moll to the advancement of his reputation, 
 was a noble allegorical compofition, in which appeared a fkilful union of invention and art* 
 
 Jeremiah Van WINGHEN, called the Young. 
 Painted Flowers and Portraits. 
 
 DIED 1648, AGED 70. 
 
 He was the fon and difciple of Joieph Van Winghen, born at Bruflels, in 1578, who 
 (hewed anearly genius to painting ; and, through the careful inftruction of his father, being 
 fufficiently qualified to receive improvement by travelling, he vifited Rome and other 
 parts of Italy, and obtained extraordinary applaufe through every city where his works 
 were exhibited. 
 
 Although he principally ftudied hiftorical compofition while he refided in Italy, yet when 
 he returned from that country to Frankfort, where he fettled, he gave himfelf up entirely 
 to the painting of portraits, in which he was truly excellent ; as he not only finifhed his 
 .pict-ures with great care, but gave them a ftriking refemblance, and the look of life. 
 
 Giles d e WINTER. 
 Painted Converfations. 
 
 He was born at Leuwarden, in 1650, and was one of the beft difciples of Brackenburg. 
 His fubjects were the fame with thofe of his mafter, the amufements and recreations of 
 peafants, their feafts and dancings, which he reprefented in a lively and an agreeable 
 manner. 
 
 He was remarkable for the clearnefs of his colouring, and his defign was very corre£t. 
 His imagination was fo ftrong that he never gave himfelf the trouble to fketch his defigns 
 after nature, but compofed them at once on the canvas, and finifhed them, from his own 
 ideas, with full as much truth as if every object, had been placed before his view. He 
 lived in the ftricteft intimacy with the old and young Griffier, and fpent feveral years of 
 his life entirely with the latter, by whom the compofitions of De Winter were exceedingly 
 .admired. 
 
 William W I S S I N G. 
 Painted Portrait. 
 
 DIED 1687, AGED JI. 
 
 He was born at the Hague, in 1656, and learned the art of painting from William 
 .Dodoens, or Doudyns, a painter of hiftory, with whom he ftudied hiftorical defign as 
 well as portraits but his genius directed him to the latter. When he had fpent fome years 
 under that mafter, he vifited England, and improved himfelf confiderably by working 
 along with Sir Peter Lely. He imitated the ftyle and colouring of that mafter with fo 
 <- much 
 
W I s 
 
 [ 75* 3 
 
 W I T 
 
 much fuccefs, that he foon rofc into reputation; and, by painting feveral portraits of the 
 Duke of Monmouth, he obtained the favour of King Charles II. and was employed hy 
 the whole Court. 
 
 He had the honour to be competitor with Sir Godfrey Kneller, though the fuperiority 
 was allowed to the latter, on account of that dignity and air which Kneller generally gave 
 to his portraits ; however, the real merit of Wiffing as an artift, as alfo the politenefs of 
 his manners, fecured to him the efteem of the great, and provided him employment as 
 long as he lived. 
 
 Houbraken fays that Wiffing was principal painter to James II. and fent by that 
 Monarch to the Hague, to paint the portraits of William and Mary, at that time Prince 
 and Princefs of Orange, by which performances Wiffing gained extraordinary reputation, 
 
 Matthew or Matthias WITHOOS. 
 Painted La?idfcape, Fruity Flowers, and Infefis, 
 
 DIED I703, AGED 76. 
 
 He was born at Amersfort, in 1627, and was the difciple of Jacques Van Carnpen, 
 with whom he continued for fix years, and diftinguifhed himfelf above moft of his cotem^ 
 poraries in thofe particular fubjecls which he painted. When he quitted Van Carnpen, 
 he wanted no farther improvement than what he was capable of obtaining by a careful 
 obfervation of nature, and therefore he applied himfelf to that ftudy with an equal degree 
 of curiofity and induftry; and, to furnifh himfelf with a greater variety of objects, he 
 travelled along with Otho Maflaeus to Rome, where he ftudied for two years. 
 
 His general fubjecls were fruits, flowers, infects, landfcapes, ftill life, and reptiles,* 
 particularly ferpents and venomous creatures, which he painted with a very uncommon 
 degree of fpirit. He finifhed all his fubjects of the latter kind exquifitely, with great 
 force, nature, and relief. He was much carefled by Cardinal de Medici, and was princi- 
 pally employed in his fervice during his continuance at Rome. 
 
 He received great prices for his pictures, which, at that time, they were thought juftly 
 to merit ; and he for the moft part introduced thiftles and other plants, with fnakes, 
 adders, or vipers, among them, which he always painted after nature, with an extraordinary 
 neatnefs of pencil. His pictures, even in his life-time, fold for five or fix hundred 
 frorins a piece; and yet the high finilhing of them, and their lively imagination of nature, 
 conftitute their principal merit. 
 
 John WITHOOS. 
 Painted Land/cape, 
 DIED 1685, AGED 37. 
 
 He was the eldeft fon of Matthias, born at Amersfort, in 1648, and inftructed by his 
 father in the art of painting j but he completed his ftudies at Rome, where he continued 
 
 for 
 
W I T 
 
 [ 752 ] 
 
 W I T 
 
 for feveral years. Generally he painted landfcapes in water-colours; and as he fketched 
 mofl of the beautiful views in the environs of Rome, having always accuftomed himfelf 
 to ftudy after nature, he brought with him, when he returned from Italy, a great number 
 of drawings of the mod pleafing fcenes which occurred to him, as materials for his land- 
 fcapes, which he finifhed highly ; and they received univerfal approbation, as his colouring 
 appeared extremely natural, and his pictures had an unufual force. He was retained in 
 the Court of the Duke of Saxe-Lauwenburg, and died there. 
 
 Peter WITHOOS. 
 Painted Flowers and Infefls. 
 
 DIED 1693. 
 
 He was the fecond fon of Matthias Withoos, born at Amersfort, and directed in his 
 itudies by his father. His fubjects were infects, flowers, plants, and reptiles, which he 
 painted in water-colours, in a moft neat and delicate manner, after nature; and his pictures 
 were highly applauded. Perfons of tafte and curiofity in Holland purchafe the works of 
 this mafter at vety high prices, and preferve them carefully in port-folios. There was 
 alfo another fon of Matthias, named 
 
 Francis WITHOOS, 
 
 .who painted in the fame ftyle and manner as his brothers j but he was in no degree 
 comparable to either. He was engaged, by a Dutch commander, to undertake a voyage 
 to Batavia, in the Eaft-Indies, to paint the plants and infects peculiar to that climate and 
 country; but, when he returned Holland, his latter performances^were thought to be far 
 inferior to thofe of his earlier time. He died in the year 1705. 
 
 J accrues de WITT. Vid. Dewitt. 
 
 Emanuel de WITT. 
 
 Painted Jrcbitefiure, Portrait^ and Hljlory. 
 
 DIED 1692, AGED 85. 
 
 He was born at Alcmaer, in 1607, and was the difciple of Evert Van Aelft Willemfzon. 
 He painted portraits with very great fuccefs, and fometimes compofed hilrorical fubjects ; 
 but his principal excellence confifted in perfpective architecture. Thofe fubjects by 
 which he gained the greateft credit, were the views of the infides of churches and magni- 
 ficent buildings ; for in thofe he was accounted equal to the beft of his cotemporaries, not 
 only in the exactnefs with which he defigned every part of his fubject, but in the happy 
 choice of his lights, and his judicious manner of introducing and difpofing them^ fo as to 
 produce an excellent effect. 
 
 His 
 
WIT 
 
 C 75-3 ] 
 
 W O L 
 
 His figures are well defigned, well coloured, and touched with fpirit ; and as he fpenfc 
 the greateft part of his life at Amfterdam, moft of his fubjects were the churches in that 
 city, in which he defcribed the organs, monuments, pulpits, and feats crowded with the 
 audience ; and his ftyle of compohtion is fo peculiar, that the pictures of his painting are 
 eafily known. In fome of them he reprefents the minifter performing divine fervice.; 
 and in others, the congregation aiTembling to attend the public worfhip, in which he 
 ufually diftinguiihes the different orders of the people by their drelTes. 
 
 The picture, which was the moft: celebrated work of De Witt, was deftroyed by himfelf 
 in a fudden fit of indignation. It was a view of the choir in the new church at Amfterdam, 
 where the monument of the famous Dutch Admiral De Ruyter is erected. The picture 
 was befpoke by the Admiral's fon, who agreed to pay a large fum of money for it; but 
 young De Ruyter dying, before the painting was finiflied, the gentleman who married 
 De Ruyter's daughter, intended to purchafe it. But he having very little judgment in 
 painting, and having offered De Witt a fum far below the original ftipulation, that 
 painter was fo highly enraged at the contemptuous offer, that he cut the picture in pieces, 
 although at that time he had not one milling in his purfe. 
 
 He was naturally of a rough,, ill-bred, and morofe difpofition, and too apt to depreciate 
 the works of other artifts, which procured him univerfal hatred and contempt, and 
 occahoned his being reduced to extreme poverty. From very ftrong appearances, it was 
 believed that he put an end to his own life through defpair, by endeavouring to hang 
 himfelf on Haerlem-fluiee ; for his body was found there in the water, with a cord 
 faftene'd round his neck. 
 
 Henrietta WOLTERS. 
 
 Painted Portraits in Miniature. 
 
 DIED I74I, AGED 4*9. 
 
 This paintrefs was born at Amfterdam, in- 1692, and at firft was inftructed by her 
 father, Theodore Van Pee; but afterwards flie was directed in her ftudy and practice by 
 the beft artifts in that city ; for, as they obferved the aptnefs of her genius, they took 
 pleafure in forming her hand, and improving her tafte of defign. But, when (he had at 
 laft copied fome of the works of Chriftopher Le Blond, fhe was defirous to have him for 
 an inftructor, which with great difficulty (he obtained ; his compliance being more owing 
 to the extraordinary talents which he difcerned in Henrietta, than te any profpect of 
 advantage to himfelf. 
 
 In the manner of Le Blond fhe painted portraits in fmall ; and particularly copied a 
 portrait and a St. Sebaftian, after Vandyck, which -exceedingly advanced her reputation, 
 as her copies refembled the originals to a degree that feemed aftonifhing ; for there 
 appeared the fame correctnefs of outline, the fame tone of colouring, and (allowing for 
 the difference of penciling in large and fmall works) the; fame freedom of touch in every 
 part. 
 
 J3 C . After 
 
w o u 
 
 C 754- I 
 
 w o u 
 
 After fuch a public proof of her fkill, flic undertook to paint portraits from the life, 
 and file gradually rofe into fo great reputation, that Peter the Great, Czar of Mufcovy, 
 was very delirous to engage her in his fervice at Peterfbourg, and offered her a very 
 large penfion; but he could not by any inducements allure her to leave her own country, 
 where (he faw herfelf lb generally careffed. However, the Czar fat to her for his picture ; 
 but he had not. patience to have it finifhed, as fhe ufually required twenty fittings for 
 every portrait, and allowed two hours for each fitting. She was alfo honoured with a vififc 
 from the King of Pruffia, who folicited her to refide at his Court ; but his generous 
 propofal was politely rejected, and fhe fpent the remainder of her life in her own country, 
 reflected by perfons of the higheft diftindlion, and efteemed by all the lovers of the art. 
 
 Her works in miniature are exquifitely finifhed ; her delign is corrects and her paintings 
 have all the force of thofe which are finifhed in oil. 
 
 Francis WOUTERS, or Wauter. 
 
 Painted Landfcape and Hi/lory. 
 
 DIED 1659, AGED 45. 
 
 He was born at Lier, in 1614, and learned the art of painting in the celebrated fchool 
 of Rubens, where he ftudied principally to paint landfcape; but he alfo painted hiftorical 
 fubjects, in large and in fmall, with great credit. 
 
 The fubjects of his landfcapes were ufually woodland fcenes, with viftas, through 
 which the eye was agreeably deluded to an immenfe diftance4 and he frequently introduced 
 fome fabulous hiftories, as of Pan and Syrinx, Venus and Adonis, or Venus attended by 
 Cupids ; his figures being generally naked, and very delicately penciled. His manner of 
 colouring is agreeable; his nymphs and fatyrs are well defigned; and the hiftorical pictures 
 which he painted in fmall, fhew a competent degree of tafte and fpirit ; but his paintings 
 in a larger fize are not fo commendable, as in thofe the colouring is heavy, and too much 
 of a yellowifh tint. 
 
 The Emperor Ferdinand II. advanced him to the honour of being his principal painter, 
 and permitted him afterwards to accompany the Imperial Ambaflador to London, in 1637, 
 where his works procured him efteem; and, on the death of the Emperor, he was appointed 
 painter to Charles IL at that time Prince of Wales. But, although he pofTefled a confi- 
 derable income by his penfion, and the fale of his pictures, yet in a few years he quitted 
 England, and retired to Antwerp, where he continued to follow his profeflion, and had 
 the honour to be appointed Director of the Academy. 
 
 Philip WOUWERMANS. 
 Painted Landfcape and Cattle. 
 
 DIED l668, AGED 48. 
 
 He was born at Haerlem, in 1620, the fon of Paul Wouwermans, an hiftory-painter 
 of very mean talents; but PhiHp was placed as a difciple with John Wynants, and 
 
 2 arrived 
 
W O U [ 755 ] W O U 
 
 arrived at fuch a degree of perfection, as to be efteemed fuperior to all his cotemporaries. 
 By the inftrudtions and excellent example of his matter, the proficiency of Wouwermans 
 was very remarkable ; but to the knowledge of colouring and penciling which he acquired 
 in the fchool of Wynants, he added the ftudy of nature, in which he employed himfelf 
 with a curious and critical attention, fo as to render himfelf fuperior to his mafter in the 
 choice of his fcenes, in the excellence of his figures, and in the truth of his imitations 
 of nature in every object. 
 
 The fubjects which he feemed moft particularly fond of painting, were huntings, 
 hawkings, encampments of armies, farriers mops, and all kinds of fcenes that afforded 
 him a proper and natural opportunity of introducing horfes ; as he painted thofe animals 
 to the greateft perfection. And when we confider the works of this inimi table artift, we 
 find ourfelves at a lofs to determine what part is moft worthy of our applaufe and 
 admiration} whether the fweetnefs of the colouring; the correctnefs of his defign, his 
 cattle, or his figures; the charming variety of attitudes in his horfes; the free, and yet 
 delicate touchings of his trees; the beautiful choice of his fcenery; the judicious ufe he 
 makes of the chiaro-fcuro, or the fpirit that animates the whole. 
 
 His genius and invention were fo ftrong and lively, that none of his pictures have the 
 fame grounds, or the fame diitances; for he varied them perpetually with ineXpreflible 
 /kill ; in fome, reprefenting frmple, unembellifhed nature ; and in others, fcenes enriched 
 with architecture, fountains, or edifices of a picturefque conftruction. His figures are 
 always finely drawn, with fuch expreffions and attitudes as are fuitable to the fubject ; 
 and the attitudes he chofe were fuch as appeared unconftrained, natural, and moft agree- 
 able. He had an amazing command of his pencil, fo that inftantly and effectually he 
 expreffed every idea conceived in his mind ; and gave to his pictures an aftonilhing force, 
 by broad maffes of light and ftiadow, by contrafting his lights and fhadows with peculiar 
 judgment, and giving an uncommon degree of tranfparence to the colouring of the whole. 
 The pencil of Wouwermans was mellow, and his touch free, though his pictures were 
 finiftied moft delicately : his diftances recede with true perfpedtive beauty, and his fkies, 
 air, trees, and plants, are all exact and lovely imitations of nature. 
 
 It is obferved by the Dutch writers on this fubject, that in his latter time his pictures 
 had rather too much of the greyifh and blue tint; but, in his beft time, he was not inferior, 
 either in correctnefs, colouring, or force, to any of the artifts of Italy. Yet, notwith- 
 ftanding his uncommon merit, he had not the good fortune, during his life, to meet with 
 encouragement equal to his defert ; for, with all his affiduity, though he was extremely 
 induftrious, he found it difficult to maintain himfelf and his family. He feemed to be a 
 ftranger to the t artifices of the picture-merchants, who therefore impofed on him under the 
 difguife of zeal for his intereft ; and while they artfully enriched themfelves by his works, 
 they contrived to keep him depreffed, and very narrow in his circumftances. But after 
 the death of Wouwermans, the value of his pictures increafed to an incredible degree; as 
 they were not only univerfally coveted through every part of Europe, but the Dauphin 
 of France, and the Elector of Bavaria, bought up every picture of Wouwermans that 
 ■could be procured, and they purchafed them at very large prices. 
 
 5 C 2 That 
 
wou 
 
 [ 756 3 
 
 wou 
 
 That unhappinefs of not being diftinguifhed in proportion to his merit (which has becri. 
 the fever e lot of many perfons of the beft abilities in all profeflions), affected him fo 
 ftrongly, that a few hours before he died, he ordered a box, filled with his ftudies and 
 defigns, to be burned; faying, " I have been fo badly rewarded for all my labours, that I 
 " would prevent my fon from being allured by thofe defigns, to embrace fo- miferable and 
 t(r fo uncertaina profeffion as mine." However, different authors afcribe the burning of 
 his defigns to different motives. Some fay it proceeded from his diflike to his brother 
 Peter, being unwilling that he mould reap the product of his labours; others alledge, 
 that he intended to compel his fon (if he fhould follow the profeffion) to feek out the 
 knowledge of nature from hrs own induftry, and not indolently depend on copying thofe 
 defigns ; and other writers affign a lefs honourable motive, which feems to be unworthy 
 of the genius of Wouwermans, and equally unworthy of being perpetuated. 
 
 Houbraken obferves, that the works of Wouwermans and Bamboceio were continually 
 placed in competition, by the ableft judges of the aft; and the latter having painted a 
 picture which was exceedingly admired, John De Witt prevailed on Wouwermans to 
 paint the fame fubject, which he executed in his ufual elegant ftyle. Thofe pictures being 
 afterwards exhibited together to the public, while both artifts were prefent, De Witt 
 Taid (with a loud voice), " A^.1 our connoiffeurs feem to prefer the works of thofe painters 
 " who have ftiidied at Rome; and obferve only, how far the work of Wouwermans, who 
 " never -faw Rome, furpaffes the work of him who refided there for feveral years !" 
 That obfervation, which was received with general applaufc, was thought to have had too 
 violent an effect on the fpirits of Bamboceio"; and by many it was imagined, that it 
 contributed to his untimely death. 
 
 Peter WOUWERMANS;. 
 
 Painted Landfcapes and Huntings. 
 
 He was brother to Philip, born at Haerlem, and at firft was inftructed by Jiis father, 
 but was afterwards the. difciple of Roland Roghman. He ftudied and imitated the ftyle 
 of compofition, and the colouring of his brother, with great fuccefs ; and was confeffediy 
 a good painter, although in no degree comparable with Philip. 
 
 His fubjects in general refembled thofe of his brother, farriers fhops, or figures on 
 horfeback going abroad to hunt or to hawk, and particularly female figures >.alfo different 
 rural recreations, in which, like Philip, he was fond of introducing horfes, which he 
 defigned well. He had a neat pencil and agreeable colouring, and. imitated the manner"of 
 Philip fo happily in his tafte of defign, in his figures and animals, that fome of his paintings 
 have been miftaken for the work of his brother, by feveral who, in their own opinion, 
 were competent judges. But, by thofe of true tafte and judicious difcernment, the work 
 of Peter is eafily diftinguifhed from that of Philip, by its not being fo clear, fo tranfpa- 
 rent, fo fweetly and freely touched, nor fo well defigned ; nor are his figures drawn with 
 fuch correclnefs and expreffion ; and, in fhort, in many other refpe&s, he muft appear to 
 an able connoiffeur, far inferior to his incomparable brother. . 
 
 John 
 
w o u 
 
 C 757 3 
 
 w y c 
 
 John WOUWERMANS. 
 Painted Landfcapz. 
 died 1666; 
 
 He was the youngeft brother of Philip, born at Haerlem, vvhofe landfcapes were 
 painted in a very pie afing ftyle, with an agreeable tone of colouring, and an excellent 
 touch; but, as he died young,he left no great number of paintings to eftablifh a reputation. 
 
 Houbraken mentions his having feen a picture of this mafter's hand in the pofleffion 
 of L. Vander Vinne. It was a landfcape, reprefenting a rocky mountainous country; the 
 fore-ground was dark, with rough bufhes and trees; but the diftant profpec~t, which 
 conveyed the eye through a low valley, appeared clear, and produced a good effect. The 
 fore-ground was freely touched, with a great deal of fpirit; it was well broken, and 
 naturally coloured, refembling the colouring of Philip in his early time, before he ufed 
 that variety of tints, which are to be obferved.in all his beft works. 
 
 Mathys, or Matthias WULFRAAT. . 
 
 Painted Hi/lory, Conversations, and Portraits. . 
 
 DIED I727, AGED 79. 
 
 He was born at Arnheim, in 1648, and became the difciple of Diepraam ; for that 
 mafter having obferved the efforts of Wulfraat's genius, even before he had any regular 
 inftrudlions, gave him fome fmall afliftance in the knowledge of drawing; and when" his 
 parents found that he would not ferioufly apply himfelf to any other profeifton but 
 painting, they placed him entirely under the care and direction of Diepraam. 
 
 With that mafter he made a great proficiency; but he completed himfelf by a diligent 
 ftudy after nature, and gained a confiderable reputation. He painted hiftorical fubjects with 
 fuccefs ; but his principal merit was feen in his converfations, in which he introduced 
 characters of diftindtion, and always perfons above the common rank. He alfo painted 
 portraits in fmall, for which he had a conftant demand, and his performances are very 
 much efteemed through Germany and the Low. Countries. . 
 
 Thomas WYCKE, called the Old. . 
 Painted Sea-ports, and the Shops of Chymijls, 
 
 DIED 1686, AGED 70. .. 
 
 He was born at Haerlem, in 1616, and became one of the beft painters of his time. 
 He fpent feveral years in Italy, and fketched many of the havens and fea-ports on the 
 borders of the Mediteranean, particularly thofe from Leghorn to Naples, and reprefented 
 
 5 i, them.: 
 
WYC 
 
 C 758 ] 
 
 WYC 
 
 them with abundance of truth and nature. He alfo adorned his views with figures that 
 were extremely well defigned, habited in the dreffes of different nations ; but he rarely 
 omitted the red habit of a Turk and the white turban. 
 
 The ufual fubjects of Wycke were fea-ports, with veflels varioufl y conftructed, and a 
 great number of figures of a fmall fize ; Italian markets, fairs, and mountebanks ; and 
 he fhewed extraordinary merit in his pictures of chymifts in their laboratories, in which 
 he was fo exact, as to reprefent all their utenfils and furnaces. He ftudied to imitate the 
 ftyle and manner of Bamboccio ; and his paintings were fo highly efteemed, thst even in 
 his life time, he fold them for great prices, many being purchafed for forty, fifty, and 
 fixty guineas. 
 
 Wycke diftinguiflied himfelf by the freedom and delicacy of his penciling, as well as 
 by a judicious manner of grouping his figures; his colouring is natural and very tranfpa- 
 rent; and, by a proper diftribution of his manes of light and fhadow, his diftances fhew 
 a charming perfpedtive truth, and the eye is agreeably deluded to a very remote point of 
 view. In all his compofitions may be obferved a fine understanding of the chiaro-fcuro j 
 abundance of exactnefs, in every fcene and every object he defcribes; and great harmony 
 in the whole. 
 
 John WYCKE, called the Young. 
 Painted Battles and Huntings. 
 
 DIED I702. 
 
 He was the fon and difciple of Thomas Wycke, born at Haerlem, but he fpent the 
 greater! part of his life in England ; and, under the direction of his father, John proved 
 an excellent painter of battles, and hunting of the deer and other animals. He feemed 
 to make Wouwermans his model; and in his fmall pictures, the horfes, figures, and land- 
 fcape, were touched with a great deal of fire and fpirit ; and the colouring of his landfcape 
 is warm and cheerful. He frequently painted battles, fieges, and huntings, in a large 
 fize; but, as well in refpect of penciling as colouring, they were much inferior to thofe 
 which he painted in fmall. 
 
 He refided for many years in London, and the neighbouring villages, where he never 
 was without employment ; and the moft remarkable works of this mafter are, the 'repre- 
 fentation of the battle of the Boyne, between William III. and James II. ; the fiege of 
 Namur; and the celebrated picture of Duke Schomberg on horfeback; Kneller having 
 painted the portrait of that general, but the horfe and the battle in the back ground 
 were painted by John Wycke. 
 
 John 
 
W Y N 
 
 C 759 ] 
 
 W Y T 
 
 John WYNANTS. 
 
 Painted Landfcape. 
 
 DIED 1670, AGED 70. 
 
 He was born at Haerlem, in 1600, and was a painter of very great merit j but what 
 contributed moft to his honour, was his having been the mafter of Philip Wouwermans. 
 
 The works of Wynants are defervedly in great efteem, for the lightnefs and freedom of 
 his touch, for the clearnefs of his ikies, and for the tranfparence of his colouring. His 
 choice of nature in his fituations is extremely agreeable, having fomewhat peculiar in the 
 breaking of his grounds, and the whole has a very pleafing appearance. The figures 
 in his landfcapes were not painted by himfelf, but by Oftade, Wouwermans, Lingle- 
 bach, Van Tulden, and others, which now give an additional value to the pictures of 
 Wynants. 
 
 The works of this mafter are not common, as he mifapplied a great portion of his time 
 in parties of pleafure and diflipation; but they are eagerly purchafed, whenever they are- 
 offered to fale, and bring large prices. 
 
 Matthew WYTMAN. 
 Painted Converfations and Landfcapes-^ Fruit and Flowers. 
 
 DIED 1689, AGED 39. 
 
 He was born at Gorcum, in 1650, and. at firft was a difciple of Henry Verfchuring; 
 but afterwards completed his ftudies in the fchool of John Bylaert. His fubjects were 
 landfcapes and converfations : the former he defigned in a very pleafing ftyle j and the 
 latter he compofed and finifhed in the manner of Netfcher j though he differs from that 
 mafter, by introducing very elegant landfcapes in his back-grounds, which he finifhed 
 highly, and with a tone of colour that appeared exceedingly natural. 
 
 In the latter part of his life he employed himfelf principally in painting fruit and 
 flowers j in which fubjects he feemed rather fuperior to what he had painted in any other 
 ftyle ; and made it probable, that if he had not died fo young, he would have equalled the. 
 beft artifts of his time. 
 
% A A 
 
 [ 760 ] 
 
 :Z AN 
 
 z. 
 
 Martin ZAAGMOOLEN. 
 
 Painted Hi/lory. 
 
 This mafter, though efteemed by feveral of his own countrymen, cannot be juftly 
 mentioned with much honour, either to himfelf or to the place of his nativity. He had 
 indeed a bold manner of colouring, and a free pencil ; but his drawing and defign were 
 extremely incorrect, and his exprefiion even worfe than indifferent; yet he thought to 
 compejifate for thofe capital defects by ftrong oppofitions of light and fhadow, although 
 "he made ufe of thofe oppofitions with remarkable inaccuracy. 
 
 Houbraken mentions a Laft Judgment, painted by Zaagmoolen, in which the painter 
 had introduced an abundance of figures, of all ages ; but he obferves, that all of them were 
 Coloured fo exceedingly pale, that they had in reality the appearance of fpirits, 
 
 Matteo ZACCOLINO. 
 
 Painted Hijlory and Perfpe£tiv£. 
 
 DIED 163O, AGED 40. 
 
 He was born at Venice, in 1590, and became a very confiderable artift in hiflorical 
 Qompolitions ; but his chief excellence appeared in thofe paintings where he introduced 
 •perfpective ; for he executed thofe with the utmoft preciiion, and therefore was conftantly 
 attentive to have Tome what of that kind in every one of his defigns, to manifeft his un- 
 common power in that particular part of painting. 
 
 ZACHTLEVEN. Vid. Sachtleven. 
 ZAMPIERI. Vid. Domenichino. 
 
 FiDippo ZANIMBERTI. 
 
 Painted Hijlory. 
 
 DIED 1636, AGED $T, 
 
 He was born at Brefcia, in 1585, and was a difciple of Santo Peranda, under whofe 
 direction he continued for ten years, till, by the precepts of fo accomplifhed a mafter, he 
 proved very eminent in his profeflion. His genius was very fertile, and his imagination 
 lively ; fo that he compofed his fubjects with eafe and readinefs, and generally filled his 
 defigns with a great number of fmall figures, which he touched delicately, and gave them 
 a graceful air, with an abundance of nature. 
 
 ZEGRES. Vid. Segers, 
 
 Battista 
 
Z EL 
 
 [ 761 ] 
 
 Z V c 
 
 Battijta 2ELOTTI, called Cavauere. 
 
 Painted Hi/lory. 
 
 DIED 1592, AGED 60. 
 
 He was born at Verona, in 1532, and at firft was the difciple of Antonio Badile; but 
 afterwards he ftudied under Titian, though he principally adhered to the manner of his 
 mafter Badile. He was Angularly excellent in defign, had great readinefs of invention 
 and freedom of hand, and his tone of colouring was truly beautiful. His merit in every 
 branch of his profeffion, v/as univerfally allowed ; it recommended him to the favour of the 
 moft eminent perfons of his time, and procured him the honour of knighthood. 
 
 He aflbciated in feveral works with Paolo* Veronefe j and had the diftinclion of being 
 his competitor at Venice, where he.was one of the fix painters appointed by Titian, to 
 contend for a prize of a rich gold chain.- The prize indeed was defervedly given to Paolo; 
 but Zelotti's compofition was extremely admired, and he obtained credit by the competition. 
 Some charming paintings by this mafter are in the grand hall of the Council of Ten at 
 Venice, which are inconteftable proofs of the excellence of his colouring, of the grandeur 
 of his tafte of defign, and above all, of the flnenefs of his imaginations as moft of the 
 fubjecls of thofe paintings are allegorical, and allude to the dignity and importance of the 
 Council of Ten. 
 
 Z O O N. Vid. Son. 
 
 Marco ZOPPO. 
 Painted Hijlory and Portrait* 
 
 DIED I517, AGED 66. 
 
 He was born at Bologna, in 1451, and was the difciple of Andrea Mantegna. He 
 imitated the ftyle of his mafter with great fuccefs, and excelled in portrait, as well as in 
 hiftory. Moft of the works which he finiftied are in his native city, where they are much 
 cfteemed. 
 
 ZORGH. Vid. Sorgh. 
 ZOUST. Vid. Soest. 
 ZOUTERMANS. Vid. Subtermans. 
 
 Taddeo ZUCCHERO. 
 
 Painted Hijlory and Portraits* 
 
 DIED I566, AGED 27° 
 
 He was born at San Agnolo in Vado, in the Duchy of Urbino, in 1529; and received 
 bis earlieft inftruction from his father Ottaviano Zucchero, who was but an indifferent 
 
 S D .painter, 
 
Z U C [ 762 J Z U C 
 
 painter j but as Taddeo advanced in years, and in fome degree of knowledge, his natural 
 genius enabled him foon to perceive that he could profit but little under fuch a director j 
 and therefore, when he arrived at the age of fourteen, he went to Rome, hoping to improve 
 himfelf in that city. 
 
 As at that time he was very young, and totally unknown in Rome, he found himfelf in 
 a moft uncomfortable, or rather miferable fituation, for many months j frequently deftitute 
 of the common neceflaries of life, and being reduced to the wretched neceflity of fleeping 
 in the porticos of fome of the palaces ; though even then he had fufficient fortitude of 
 mind to preferve him from defpondency. He was compelled to fupport himfelf by grinding 
 colours fo.r the (hops at very final 1 wages, whenever he could procure work of that kind j 
 and his difengaged hours he fpent induftrioufly in defigning after the antiques, or in 
 ftudying the works of Raphael ; till at laft he appropriated one half of the week to labour 
 for his fupport, and the remainder to the cultivation of his talents. However, after 
 pra&ifing under Pietro Calavrefe, and receiving profitable inftruclions from Daniello of 
 Parma (who had for fome years refided with Correggio, and alfo painted in conjunction 
 with Parmigiano), he improved fo confiderably, as, to be qualified to appear in his profeflion 
 with credit. 
 
 He foon diftinguifhed himfelf in Rome, Urbino, Verona, and other cities of Italy, by 
 many noble compofitions in frefco as well as in oil, which are particularly defcribed by 
 Vafari ; and he equally excelled in portrait and hiftory. The Popes, Julius III. and Paul IV. 
 employed him in the Vatican i and the Cardinal Farnefe patronifed him fo far, as to entruft 
 him with the entire decoration of his palace of Caprarola, and allowed him a confiderable 
 penfion. 
 
 His ftyle of compofition was grand, and he fhewed great elevation in his ideas ; his 
 difpofition was judicious, and his pencil mellow and free ; and by being competently fkilled 
 in anatomy, he defigned naked figures fufficiently correct, and was particularly excellent 
 in the heads, the hair, and the extremities j but ftill he was accounted a mannerift, and not 
 equal to his brother and difciple Federigo Zucchero. His real merit confifted in the 
 genteel manner of his defign, and the elegance of his difpofition; but his colouring was 
 not admired, becaufe it rather refembled the colour of a marble ftatue, than the warmth 
 of nature and life. 
 
 Federigo ZUCCHERO, Cavaliere. 
 Painted . Hi/lory and Portrait. 
 
 *DIED 1609, AGED 66. 
 
 He was the brother of Taddeo Zucchero, born at San Agnolo in Vado, in the Duchy of 
 Urbino, in f 1543, and derived his knowledge of drawing from his father, being at that time 
 
 extremely 
 
 * De Piles fays he died in 1602, at the age of 66 ; by which computation he muft have been born in 1536, though 
 qthers affirm that he was born in 1543. 
 
 •f- The author of the Chronological Tables fays, that Zucchero was born in 1550 j but Vafari pofitively afiures us, 
 that he was brought to Rome, and left under the care of his brother Taddeo in that very year, which was remarkable by 
 being the year of the Jubilee. But indeed the Chronological Tables are extremely inaccurate. 
 
z u c 
 
 i 763 J 
 
 z vc 
 
 extremely young ; but as he appeared to have extraordinary talents, his father conduced 
 him to Rome, in the year of the Jubilee 1550, and left him under the care of his brother 
 Taddeo, who was then in great reputation. 
 
 Taddeo took all poffible care of his education, and alfo exerted himfelf to inftruct and 
 improve Federigo in defign, and obferved with pleafure that his genius readily enabled 
 him to make a happy ufe of every precept ; fo that, in a few years, he was qualified to 
 affift his brother in feveral of his grand compofitions, and to exhibit to the public fome of 
 his own compofitions, which even then (hewed the beginning of that excellence at which 
 he afterwards arrived. 
 
 While Taddeo was engaged at Caprarola by the Cardinal Farnefe, Federigo was invited 
 to Venice, and employed by the Patriarch Grimani, to finifh a chapel which had been 
 left imperfect by Battifta Franco ; and he executed feveral other works in frefco as well as 
 in oil, which procured him extraordinary honour and applaufe j but after the death of 
 Taddeo, he was employed at Caprarola to perfect thofe works which had been left unfiniflied 
 by the unexpected death of his brother. 
 
 He was likewife engaged at Florence in fome confiderable defigns, till Gregory XIII. 
 invited him to Rome to work in the Vatican, which afforded him a noble opportunity to 
 advance his reputation. But having received fome indignity from the principal officers 
 of the Pope, and on that account being determined to difcontinue his work, and retire 
 from Rome, he painted an allegorical picture of calumny to expofe thofe officers, in 
 which he introduced the portraits of all thofe who had given him offence, and repre- 
 fented them with affes ears. That picture he caufed to be placed over the gate of 
 St. Luke's church, on the feftival of that Saint, in order to make it more public; and to 
 avoid the refentment of the Pope, he quitted his dominions, and vifited France and 
 England. 
 
 In the latter of thofe kingdoms, which may juftly be called the Paradife of painters, 
 he received all poffible marks of distinction and encouragement ; and had the honour to 
 paint the portrait of Queen Elizabeth and many of the Nobility, as well as the molt 
 memorable perfons of that illuftrious age ; by which he obtained the reputation of being 
 the beft portrait-painter of his time. He was not indeed fo fuccefsful in the defigns which 
 he executed in Spain for Philip II. for although that Monarch rewarded him in a princely 
 manner, and loaded him with prefents, yet, as foon as Zucchero had left that kingdom, 
 his whole work was defaced by order of the King, and another artift was employed. 
 
 After an abfence of feveral years from Rome, during which time he had vifited moft 
 parts of Italy, he returned to that city, and erected an academy of painting at his own 
 expence, of which he was declared prince by the Pope. He was fuperior to his brother 
 Taddeo in many fefpects ; he poffeffed a very extenfive genius, and an invention that 
 was furprifingly ready and lively. His colouring had abundance of force, and his drawing 
 is generally good ; but, like his brother, he alfo is a mannerift, and they both wanted a 
 more thorough ftudy of nature, and more grace in the airs of the heads, to render them 
 
 5 D 2 highly 
 
z u c 
 
 I 7% 3 
 
 zus 
 
 highly excellent. Yet, notwithstanding thofe defects, the paintings of Federigo ars 
 exceedingly prized, and his portraits will for ever preferve to him the reputation of being 
 a very eminent matter. 
 
 At Venice there is a picture by Zucchero, painted in oil, reprefenting the Adoration 
 of the Magi, which for the compofition and colouring deferves the largeft commendation; 
 and it excited the envy of all the Venetian artifts. He worked, in concurrence with, 
 Paolo Veronefe, Tintoretto, Baftan, and Palma, in the grand council-chamber at Venice; 
 and his performance afforded fo great fatisfaction to the Senate, that the Doge, as a 
 public teftimony of his merit, conferred on him the honour of knighthood. - 
 
 Lambert ZUSTRUS. 
 
 Painted Hijiory and Landfcape. 
 
 He was a difciple of Titian, and imitated his manner, as well in refpect of defign as. 
 of colouring. 
 
 A very capital picture, of this matter's hand, is in the cabinet of the King of France, 
 It is a landfcape, in which he introduced the hiftory of Chrift baptized by St. John ; it 
 is very highly efteemed, and may be accounted a fufficient evidence of the merit q£ 
 Zuftrus. 
 
 A CATALOGUE 
 
CATALOGUE 
 
 OF THE 
 
 DISCIPLES OF THE MOST EMINENT PAINTERS. 
 
 MASTERS. 
 
 A 
 
 P. Van Aelft 
 Ev. Van Aelft 
 
 Albanc 
 
 Alberto Albert! 
 Albertinelli 
 
 Alefiandro Allori 
 
 Giov. Angelico 
 
 Antonello 
 Artois 
 
 John Affelyn 
 Amfield 
 
 Ottavio Amigoni 
 Baccio 
 
 Jac. Backer 
 Adr. Backer 
 
 Gilles Backereel 
 
 LuJ. Backhuyfen 
 Baccici 
 
 DISCIPLES. 
 
 Gilles Conixlo 
 C William Van Aelft 
 l Emanuel de Witt 
 f~J. Baptis Mola 
 j Pietro Francefco Mola 
 I Andrea Sacchi 
 I Carlo Cignani 
 J Ferdinand Galii 
 ^ Pietro Torri 
 
 IFilippo Menzani 
 Pianori 
 Taruffi 
 Giov. Battifta Albano 
 l_Ant. Maria del Sole 
 J Cherubino AlbertL 
 I Giovanni Albert! 
 
 {Francia Bigio 
 Giacomo Puntormo 
 Innocentio da Imola 
 Vifino 
 r Chriftofano Allori i 
 i Ludovico Cardi 
 t Lucretia Quiftella 
 
 {Benozzo Gazzoli 
 Gentile da Fabriano 
 Zanobio Strozzi 
 Domenico di Michelino 
 Domenico Venetiano 
 Cornelius Houfeman 
 Frederick Moucherou 
 Henry Lutterel 
 5 Pompeio Ghiti 
 £Rufca 
 
 {Cecchino del Frate 
 Benedetto Ciamfanini 
 Gabriel Ruftici 
 Fra. Paolo Piftolefe 
 John Van Neck 
 Chrifto. Lubienetzki 
 C Abraham Genoels 
 l James Houfeman- 
 C John Rietfchoof 
 I Mich. Madderfteg 
 Giov. Odazzi 
 
 MASTERS. 
 Francis Badens 
 Anton. Badile 
 
 Mario Ba'afli 
 Alefl*. Baldovinetti 
 
 Hen. Van Balen . 
 
 Ant. Baleftra 
 
 John Baptift Monnoyer 
 
 Federigo Baroccio 
 
 Jacopo Barozzi 
 Pietro Barfutti 
 Bartolet 
 
 Baccio Bandinelli 
 Abbate Bartolomeo 
 
 Giacomo BafTano 
 
 William Baur 
 Giov. Batt. Beinafchi 
 
 Giacomo Bellino 
 
 Giov. Bellino 
 Anton. Beiluci 
 
 Nich. Berchem 
 
 DISCIPLES. 
 
 John Nieulant 
 r P. Veronefe 
 } P. Farinato 
 
 1 Battifta Zelotti 
 C Anton. Giufti 
 
 2 Andrea Scacciati 
 Domen. Ghirlandaio 
 
 r> Anthony Vandyck 
 
 < Francis Snyders 
 L Peter Snayers 
 
 r Pietro Longhi 
 
 < Carlo Salis 
 
 C Pietro Rotari 
 
 J. Baptift Fontenay 
 Vannius da Siena 
 II Sordo 
 -{ Felice Pellegrini 
 Francefco Baroccio 
 Antoniano Urbinati 
 Bartolomeo PaflVrotti 
 Pietro Montanini 
 Gerard LairefTe 
 Francefco Salviati 
 Gherardo 
 fFrancifco BafTano 
 \ Leandro Baflano 
 "j Giov. Battifta BafTano 
 I. Giro'amo Baflano 
 Francis Gobeau 
 Angela Beinafchi 
 e Giovanni Bellino 
 ) Gentile Bellino 
 j Liberate Veronefe 
 (. Giovanni da Udino 
 ( Titiano Vecelli 
 ) Giorgione 
 y Lorenzo Lotto 
 vSebaftian del Piombo 
 
 Antonio Ba'eftra 
 " Karel du Jardyn 
 John Glauber 
 Jac. Hugtenburgh 
 Peter de Hooge 
 Juftns Van Huyfum 
 Dirk Maas 
 
 Vander Meeren de Jonghe 
 
 Ferd, 
 
c 
 
 766 3 
 
 MASTERS. 
 
 Ferd. Galli Bibiena 
 
 Giovanni Maria Galli 
 
 Bibiena 
 Adrian de Bie 
 Pietro Bianchi 
 Ant. Bilivcrti 
 
 Abra. Bloemart 
 
 Anthony Blockland 
 John Bol 
 
 Ferdinand Bol 
 
 Peter Bol 
 Bonefacio 
 Fabricio Bofchl 
 Andrea Bofcoli 
 Sandro Boticelli 
 
 John Both 
 
 Giov. Bat. Bolognini 
 
 Bon Boullongne 
 
 Louis Boullongne 
 
 Sebaft. Bourdon 
 
 Bourgognone 
 
 DISCIPLES. 
 
 #* Giufeppe Civoli 
 1 Giov. Batt. Alberoni 
 •i Pietro Scandellari 
 I Giuf. Anton. Landi 
 L Roberto Clerici da Parma 
 
 L Marc Anton. Francefchini 
 
 Theodore Roos 
 Gaetano Sardi 
 Giov. Maria Morandi 
 r John Both of Italy 
 Andrew Both 
 Gerard Honthorft 
 Henry Bloemart 
 Adrian Bloemart 
 William Honthorft 
 1 Cornelius Poelemburgh 
 • John Baptift Weeninx 
 Will. Van Drillenburgh 
 Nicholas Knupfer 
 Henry Verbruggen 
 Dirk Hals 
 John Bylert 
 Jacob Gerritze Kuyp 
 C Michael Mirevelt 
 I Cornelius Kettel 
 C Roland Savery 
 I James Savery 
 C Godfrey Kneller 
 l Cornelius Bifchop 
 David de Koninck 
 Giacomo Baffano 
 Simon Pignoni 
 Giov. Stefano Marucelli 
 Filippo Lippi, the Young 
 f Henry Verfchuring 
 
 < Barent Bifbink 
 
 t William de Heufch 
 5 Lorenzo Bergunzoni 
 l Giacomo Bolognini 
 pGenevieve Boullongne 
 Magdalen Boullongne 
 John B-ipt. Santcrre 
 Louis Sylveftre 
 Jean Raoux 
 / Claude Verdot 
 J Cazes 
 Nicholas Bertin 
 Madem. Chiillophe 
 Dulin 
 . Le Clerc 
 V-^Tourniere 
 " Bon Boullongne 
 Sieur Comical 
 4 Madem. Galloche 
 Courtin 
 . Delobel 
 f Guillerot 
 
 Theodore Van Schuur 
 J Daniel Savoyen 
 I Monier 
 I Friquet 
 r Parocel, the Old 
 
 < GiofefYo Pinacci 
 L Angelo Everardi 
 
 MASTERS. 
 
 Giacinto Brand! 
 
 Barth. Breenberg 
 Fred. Brendel 
 
 Peter Brueghel 
 
 John Brueghel 
 Matthew Bril 
 
 Paul Bril 
 
 John Bronkhorft 
 Agnolo Bronzino 
 
 Adrian Brouwer 
 
 Charles Le Brun 
 
 Felice Brufaforci 
 
 M. Ang. Buonaroti 
 
 Buonam. Buffalmacco 
 Alefl". Buonvincino 
 
 Batt. Cairo 
 
 Denis Calvart 
 
 DISCIPLES. 
 
 C Rofa da Tivoli 
 
 l Felice Ottini, or Felice 
 
 Gofredy 
 
 William Baur 
 r John Brueghel, his Son 
 I Peter Guefche 
 t Peter Brueghel 
 f Daniel Segers 
 ) Peter Gyzen 
 "\ Lucas de Waal 
 v Jacques Fouquieres 
 
 Paul Bril 
 
 {William Nieulant 
 Agoftino Tafli 
 Paul Ryccaert 
 Spierings 
 Roland Savery 
 Balthafar Laura 
 Cornelius Vroom 
 r Csefar Van Everdingen 
 J Jacques Van Campen 
 
 {AleiTandro Allori 
 Giov. Maria Butteri 
 Stefano Pieri 
 Battifta Naldini 
 Lorenzo della Sciorina 
 
 {Jan Stcen 
 Gonzales 
 David Teniers, jun. 
 Joos Van Kraelbeck 
 ✓-Gabriel Le Brun 
 
 I. Claude Audran 
 Verdi er 
 Charles La Fofle 
 . Houalle 
 "» Vernanfal 
 Le Fevre 
 Nicholas Loir 
 Jofeph Vivien 
 Gregory Brandmuller 
 Marc Ant. Bafietti 
 
 rGiuliano Bugiardini 
 Maitre Roux, or Roflb 
 I Pierino del Vaga 
 1 Sebaftian del Piombo 
 ! Battifta Franco 
 Tintoretto 
 Giorgio Vafari 
 Antonio Minio 
 Pietro Urbano Piftolefe 
 Afcanio del. ripa Tranfone 
 Marcello Venufti 
 Giovanni da Poiite 
 Giov. Bat. Moroni 
 
 Carlo Cignanl 
 TGuido 
 I Domenichino 
 ! Vincenzo Spifanelli 
 
 Gab. Ferrantini 
 ! Albano 
 . J Petro da Crevalcuore 
 LGiov. Bertufio 
 
 J ac 1- 
 
[ 767 ] 
 
 MASTERS. 
 
 Jacq. Van Campen 
 Bernardino Campi 
 
 Luca Cangiagio 
 
 Domenico CanutI 
 
 M. A. Caravaggjo 
 Ludovico Card! 
 
 Annibal Caracci 
 
 Ludovico Caracci 
 
 Giovanni Caroto 
 
 Angelo Carofello 
 Giac. del CafTentino 
 
 Andr. del Caftagno 
 
 Bernardo Caftelli 
 
 Valerio Caftelli 
 Benedetto Caftiglione 
 
 DISCIPLES. 
 
 Matthias Withoos 
 Sophonifba Angofciola 
 f Horatio Cambiali 
 < Giov. Batt. Pagi 
 L Lazaro Tavarone 
 f Girolamo Negri 
 \ Giufeppe dal Sole 
 t Antonio Burino 
 " Bartol. Manfredi 
 Carlo Saracino 
 
 Giufeppe Ribera, called Spag- 
 
 noletto 
 Leonello Spada 
 Gerard Honthorft 
 Carlo Loth 
 Andrea Commodi 
 Antonio Caracci 
 Albano 
 Guido 
 
 Domenichino 
 Lanfranc 
 Guercino 
 
 Innocenza Tacconi 
 Viola 
 J Pietro Facini 
 \ Leonello Spada 
 Giacomo Cavedone 
 Francefco Bolognefe 
 But. Schidone 
 Anton. Maria Panico 
 Sifto Badolochi 
 
 Pietro Paolo Gobbo, called 
 
 Gobbo Caracci 
 Baldafiare Alloifi 
 Annibal Caracci 
 Agoftino Caracci 
 Annibal Marian 
 Lorenzo Garbieri 
 J Francefco Brizio 
 Ludovico Valefio 
 Ale (land ro Albini 
 Francefco Caracci, called Fran- 
 cefchino 
 r Paolo Veronefe 
 } Anfelmo Cannieri 
 C Domenico Riccio 
 Filippo Laura 
 Spinello Aretino 
 pGiacopo del Corfo 
 I Lorenzo Cofta 
 I Vitore Pifano 
 J Pifanello 
 \ II March! no 
 • Pietro Pollainolo 
 I Giov. da Rovezzano 
 ^Pefello Pefelli 
 r Giov. Maria Caftelli 
 I Bernardino Caftelli 
 J Gio. Andr. da Ferrara 
 (_ Valerio Caftelli 
 C Giov. Paolo Cerveto 
 \ Stefano Magnefco 
 | Bartolomeo Bifcaino 
 (_ Giov. Batt. Merano 
 K Francefco Caftiglione 
 \ Salvator Caftiglione 
 
 MASTERS. 
 Pietro Cavallini 
 
 Jacomo Cavedone 
 
 Frederico Cervelli 
 Jac. Chiaviftelli 
 Philip de Champagne 
 
 Carlo Cignani 
 
 Girolamo Cignolo 
 Giovanni Cimabue 
 
 Circignano 
 
 Ludovico Civoli 
 
 Claus 
 
 Claud. Lorraine 
 
 Gilles Coignet 
 Andrea Commodi 
 M. Ang. Colonna 
 Giov. Contarini 
 Simon Contarini 
 Jacques Cornells 
 Antonio Correggio- 
 
 Pietro da Cortona 
 
 Alexander Cooper 
 Pietro di Cofimo 
 
 DISCIPLES. 
 
 Giovanni da Piftoia 
 T Ottavio Corradi 
 1 Battilla Cavazza 
 K Flamminio Torre 
 I Andrea Sirani 
 V. Borboni 
 
 Ssbaftian Ricci 
 f Giovanni Sacconi 
 s Rinaldo Botti 
 t Giufeppe Tonelli 
 J. Bapt. Champagne 
 'Felice Cignani 
 Stef. Maria Legnano 
 Marc. Ant. Francefchini 
 Ludovico Quaini 
 Paolo Ant. Paderna 
 Francefco Mancini 
 Lamberti 
 
 AlefTandro Marcherini 
 Giuf Maria Crefpi 
 ..Giov. Girolamo Bonefi 
 Giovanni Ghifolfi 
 Giotto ' ■ 
 
 C Chriftofano Roncalli, called. 
 I Pomerancio 
 pDomenico Fetti 
 J Pietro Medici 
 I Jeronimo Buratti 
 
 Aurelio Lomi 
 | Antonio Lelli 
 I: Giov. Biliverti 
 ^.Sigifmondo Coccapani 
 
 John Kupetfki 
 C John Dome nick Romain 
 \ Herman SwanefeJd 
 "l Angeluccio 
 l_Courtois 
 Cornelius Van Haerlem 
 Pietro da Cortona 
 Antonio Roli 
 Tiberio Tinelli 
 Lorenzo Pafinelli 
 John Schoorel 
 Bernardo Sdiaro 
 "Ciro Ferri 
 Vincentio Dandini 
 R oman e Hi 
 Giovanni Francefco 
 Lazaro Baldi 
 Pietro Tefta 
 Bourgognone 
 Giacinto Geminlani 
 ■< Filippo Gherardi 
 Nicholas Duval 
 Luca Giordano 
 Giovanni Maracci 
 Livio Mehus 
 Salvio Caftelucci 
 Pietro Caftelucci 
 Peter Puget 
 Francefco Bonifacio 
 Ifmael Mengs 
 r Andrea del Sarto 
 i Giacomo da Puntormo 
 L Lorenzo Cofta 
 
 Pietro 
 
C 7^8 3 
 
 MASTERS. 
 
 Pietro di Cofimo 
 
 Raphael Coxis 
 
 Lorenzo di Credi 
 
 Sebaftian Concha 
 Giov. Batt. Crefpi 
 Giov. Maria Crefpi 
 
 Franc. Curradi 
 
 D 
 
 Will. Van Dal en 
 Vincentio Dandini 
 
 Caefare Dandini 
 
 Abbate Danefe 
 Giov. Diamantini 
 Abr. Dipraim 
 Domen. Difinico 
 
 Will. Dodoens 
 
 Jacob Vandcr Does 
 Carlo Dolce 
 Domenico 
 
 Domenichino 
 
 Gerard Oouw 
 
 John Fran. Dauven 
 Hen. Dubbels 
 
 Albert Durer 
 
 Ad. Elfheimer 
 
 Corn. Engelbrecht 
 
 Angelo Everardi 
 Alb. Everdingen 
 Csefar Everdingen 
 
 DISCIPLES. 
 
 r Ercole Ferrarefe 
 
 i Ludovico Malino 
 
 C. Francifco da Sa-i Gallo 
 
 Cafpar de Crayer 
 J Giov. Ant. Sogliani 
 
 1 Tomafo di S:efano 
 Rofalba Mar. Salvioni 
 Daniello Crefpi 
 Antonio Gionima 
 
 { Pietro Curradi 
 
 2 Cofimo Curradi 
 
 Dirk Van Dalen 
 Ant. Domen. Gabbiani 
 
 f Aleflandro Roffi 
 
 \ Antonio GiulH 
 
 *- Vincentio Dandini 
 Felice Ramelli 
 Rofalba Carriera 
 Matthias Wulfraat 
 Antonio Bellucci 
 
 {Daniel Mytens 
 Nich. Raveftein 
 Auguftin Terweften 
 William Wiffing 
 Simon Vander Does 
 S Aleflandro Loni 
 £ Onorio Marinari 
 
 Andr. del Caftagno 
 f Pietro Tefta 
 J Andrea Camafiei 
 1 Antonio da Mefiina 
 L Francefco Cozza 
 r Francis Mieris 
 Herman Swanefeld 
 Peter Slingeland 
 Karel de Moor 
 Godfrey Schalcken 
 wMathys Neveu 
 Fr. Bartholomew Douven, 
 Ludolph Backhuyfen 
 Albert Aldegraaf 
 John de Culmbach 
 John Birkemelr 
 Erhard Schoen 
 Bartholomew Boehm 
 John ScheufHein 
 
 f John Erneft Thomas, of Lan- 
 I dau 
 
 «j David Teniers, the Old 
 I Solomon 
 
 l Mofes, called Little Mofes 
 
 {Lucas Van Leyden 
 Arto Leone 
 Aertgen de Leide 
 Luca Cornelifz 
 Fauftino Bocchi 
 5 Ludolph Backhuyfen 
 I Gerard Edem3 
 Adrian Dekker 
 
 MASTERS. 
 
 John Van Eyck 
 
 Gentile da Fabriano 
 Daniel Falcone 
 Paolo Farinato 
 
 Ciro Ferri 
 
 Domen. Fiafelhi 
 Caefare Fiori 
 Mario da Fiori 
 Fioravanti 
 Govert Flink 
 
 Francis Floris 
 
 James Fouquieres 
 
 Corto Ferrarefe 
 Mich. Forabofo 
 Giacomo dclla Fonte 
 
 Profpcro Fontana 
 
 Charles La Fofle 
 Francefco Francazano 
 Frari da Modena 
 
 Mar. An. Francefchinl < 
 
 Barth. Francefchini 
 Francefco Francia 
 
 Pietro della Francefca 
 
 Laurentius Franck 
 Ch. Alphonfe Frefnoy 
 
 Francis Frank 
 
 Giov. Fratellini 
 Tomafo da San Friano 
 Furini 
 John Fytt 
 
 DISCIPLES. 
 
 {Roger Van Bruges, or Van- 
 der vveyde 
 Hugo Vander Goes 
 Antonello da Meflina 
 
 Giacomo Bellini 
 Salvator Rofa 
 Orazio Farinato 
 C Coibeliini 
 1 Pietro Montanini 
 J Giufepp: NiccolaNanni 
 I Giovanni Odazzi 
 V. Filippo Maria Galetti 
 Valerio Caftelli 
 Andrea Porta 
 Laura Bernafconi 
 M Ang. Campidoglio 
 John Spilberg 
 ^-Martin de Vos 
 j Francis Pourbus 
 I Anthony Blockland 
 J Vanderbroeck 
 1 Joris Van Ghent 
 S Henry Van Cleef 
 Lucas de Heere 
 Benjamin Sammeling 
 I Jerom Franckens 
 CAmbrofe Franckens 
 r Philip de Champagne 
 i Rendu 
 I Bellin 
 Benvenuto Garofalo 
 Pietro Bellotti 
 Antonio Sodoma Vecelli 
 C Ludovico Caracci 
 J Agoftino Caracci 
 1 Denis Calvert 
 (_ Aleflandro Tiarini 
 Francis Marot 
 Salvator Rofa 
 Anton. Correggio 
 ' Glrolamo Gatti 
 Giacinto Garofalini 
 Francefco Meloni 
 Giacomo Boni 
 Antonio Roffi 
 k Luca Biftega 
 Antonio Fran.chi 
 Amico Afptrtino 
 f Lorentino d'Arezzo 
 J Luca Signorelli 
 "l Pietro Borghefe 
 (_ Giov. Angelico da Fiefole 
 
 Francefco Mille 
 r Guillerot 
 i Monier 
 t Frlquet 
 
 C Gualdorp Gortzius 
 J John de Waal 
 Violante Beatrice Siries 
 Jacopo da Empoli 
 Lorenzo Bertucci 
 David de Koninck 
 
 5 
 
C 769 ] 
 
 MASTERS. 
 
 Domen. Gabbiani 
 
 Ant. Domen. Gabbiani 
 Gabriello, d'Occhiale 
 Camillo Gabrielli 
 Taddeo Gaddi 
 Agnolo Gaddi 
 Hipolito Galantini 
 Benozzo Gazzoli 
 Antonio Gaudino 
 Giov. Battifta Gauli 
 
 Girolamo Genga 
 
 Horatio Gentilefchi 
 Gerrard 
 
 Giacomo del Po 
 Giacinto Geminiani 
 
 Lorenzo Ghiberti 
 
 Pompeo Ghiti 
 
 Domen. Ghirlandaio 
 
 Ridol. Ghirlandaio 
 
 Benedetto Gennari 
 Cfffare Gennari 
 Giov. Ghifolfi 
 
 Luca Giordano 
 
 Giorgione 
 
 Cav. Giofeppino 
 
 DISCIPLES. 
 
 f Lorenzo Mar. Fratellini 
 
 < Tommafo Redi 
 L Giovanna Reda 
 
 Benedetto Luti 
 Agoftino Metelli 
 Giofeffo Maria Milan! 
 Jacopo da Cafentino 
 Antonio Venetiano 
 Giovanna Fratellini 
 Zanobi Machiavelli 
 Ottavio Amigoni 
 Giovanni Odazzi 
 r Bartolomeo Genga 
 
 < France fco Menzochl 
 
 L Baldaffare Lancia, da Urbino 
 5 Orazio Riminaldi 
 t Artemifia Gentilefchi 
 Jan Verkolie 
 Martirelli 
 Luigi Geminiani 
 5 Maffolini da Panicale 
 2 Paris Spinello 
 Giov. Antonio Capelli 
 Benedetto Ghirlandaio 
 David Ghirlandaio 
 Rodolfo Ghirlandaio 
 Domenico Puligo 
 Baftiano Mainardi 
 M. Ang. Buonaroti 
 Francefco Granaccio 
 Nicolo Cieco 
 Jacopo del Tedefco 
 Jacopo del Indaco 
 Baldino Baldinelli 
 ^Barbatelli 
 " Mariano da Prefcio 
 Antonio del Caraiolo 
 Toto del Nuntiata 
 Lorenzo di Credi 
 . Carlo Portelli 
 Guercino da Cento 
 J Simone Gionima 
 I Aureliano Milan! 
 
 Bernardo Racchetti 
 TNuzio Ferajuoli 
 j Paolo Mattei 
 I Pacelli 
 J Simonelli 
 j Nicolo Malinchonico 
 I Mateo 
 I Aniello Roffi 
 \__Nicolo Roffi 
 Sebaltian del Piombo 
 Titiano 
 
 Francefco Torbido 
 * Giovanni da Udino 
 
 Ant. Licinio, called Porde- 
 ^ none 
 I Francefco Allegrini 
 ][ Pietro Francefco Mola 
 
 4 
 
 MASTERS. 
 
 Giotto 
 
 Giottino 
 
 John Glauber 
 Nicolo Golfino 
 Henry Goltzius 
 Gobbo 
 
 Francis Goubcau 
 Diederick Govertze 
 Baftian Govertze 
 Peter Goukind 
 
 John Van Goyen 
 
 Barent Graat 
 Fran. Peter Grebber 
 
 Peter Grebber 
 
 Guercino, da Cento 
 
 Guido 
 
 DISCIPLES. 
 
 pTaddeo Gaddi 
 
 J. Agnolo Gaddi 
 Pietro Cavallin! 
 Simone Memmi 
 Ottaviano da Faenza 
 - Pace da Faenza 
 
 Giuglielmo da Fori! 
 . Stefano Florentino 
 LAmbrogio Lorenzetti 
 r Giovanni Angelico 
 I Giovanni Tofficani 
 J Michelino 
 
 1 Giovanni da Ponte 
 Lippo 
 
 C John Gotlief Glauber 
 
 2 Diana Glauber 
 Paolo Farinato 
 
 C Peter Grebber 
 l John Vander Lys 
 M. Ang. di Battaglia 
 Nich. Largilliere 
 Raphael Camphuyfen 
 Gabriel Vander Leeuw 
 John, or Velvet Brueghel 
 _ Nicholas Berchem 
 \ Adrian Vander Kabel 
 ^ Herman Sachtleven 
 ^ Jan Steen 
 
 John Hendrick Roos 
 r Peter Grebber, his fon 
 i Maria Grebber 
 t Peter Saenredam 
 "Theodore Helmbreker 
 Nicholas Berchem 
 Egbert Hemfkirk 
 Peter Lely 
 "Ercole Gennari 
 Caefare Gennari 
 Paolo Anton. Paderna 
 Francefco Paglia 
 Matteo Loves 
 Sebaftian Bombelli 
 j Mattia Preti, or Calabrefe 
 J Lucas Scaramucia 
 I Paolo Anton. Barbieri, da 
 j Cento 
 j Antonio Triva 
 J Padre Caefare da Ravenna 
 I Giovanni Bonatti 
 -Guido Cagnacci 
 Giovanni And. Sirani 
 Simon Contarini da PeiTaro 
 Francifco Geffi 
 Giacomo Sementa 
 Flamminio Torre 
 / Marefcotti 
 j John Bolanger 
 Girolamo Roffi 
 Rugieri 
 
 Domenico Mar. Canut! 
 Giov. Batt. Bolognini 
 Pietro Francefco 
 Filippo Brizio 
 
 Francis 
 
C 779 3 
 
 MASTERS. 
 
 H 
 
 Francis Hals 
 
 Cornel. Van Haerlem 
 
 David de Heem 
 
 Lucas de Heere 
 Martin Hemfkirk 
 Francifco Herrera 
 William de Heufch 
 
 Hans Holbein 
 
 Gilles Hondekoeter 
 Gylbert Hondekoeter 
 Melch. Hondekoeter 
 Gerard Honthorft 
 
 S. Van Hoogeftraeten 
 
 Abraham Hondius 
 John Ho/kins 
 Julius Van Huyfum 
 
 Lambert Jacobfz 
 
 Abraham Janffens 
 
 Julius Jardyn 
 Charles Jardin 
 Jacopino dal Conte 
 Innocentio da Imola 
 Imperiale Grammatica 
 William Van Inghen 
 
 Jacques Jordaens 
 
 DISCIPLES. 
 
 C Adrian Brouwer 
 I. Adrian Oftade 
 •< Dirk Van Delen 
 I Peter Roeftraeten 
 L Vincent Vander Vinne 
 
 (Gerard Peters 
 Cornelius Jacobs 
 Cornelius Enghelfens 
 Gerard Noppe 
 Zachary D'Alcmaer 
 Peter Laftman 
 /•Abraham Mignon 
 J Henry Schook 
 J Cornelius Kick 
 I Cornelius de Heem 
 L Maria Van Oftertwyke 
 Charles Vanmander 
 Jacob Rawnert 
 Don Diego Velafquez 
 Jacob de Heufch 
 r John Holbein, his fon 
 } Chriftopher Amberger 
 L John Afper 
 Gylbert Hondekoeter 
 Melchior Hondekoeter 
 William Romeyn 
 Joachim Sandrart 
 C Godfrey Schalcken 
 I Arnold Houbraken 
 Peter Cornelius Verhoeck 
 Samuel Cooper 
 Jbhn Van Huyfum 
 
 Julio Romano 
 
 MASTERS. 
 
 DISCIPLES. 
 
 Julio Romano 
 
 Govert Flink 
 C Gerard Segers 
 l Theodore Rombouts 
 Hendrick Roos 
 Jacques Vander Does 
 Scipio Gaetano 
 Profpero Fontana 
 Antiveduto 
 Albert Spiers 
 'Cafpar de Crayer 
 Bartolet Flameel 
 Peter Donker 
 Leonard Vander Koogen 
 Peter Reuven 
 w Henry Carre 
 "Pirro Ligorio 
 Tomafo Parerello da Cortona 
 Raphael dal Colle 
 Primaticcio 
 Benedetto Pagni 
 ! Figurino da Faenza 
 
 Bartol. da Caftiglior.e 
 ; Giov. Batt. Mantuano 
 tineas Vico 
 Giovanni da L'one 
 Fermo Guifoni 
 Rinaldo Mantuano 
 Giov. Batt. Bertano 
 
 K 
 
 John Van Kefl'el 
 Cornelius Kettel 
 Nicholas Knupfer 
 Albert Kuyp 
 
 Jacob Gerritze Kuyp 
 
 Gerard Laireffe 
 
 Peter Laftman 
 
 Peter Lely 
 
 Liberale Veronefe 
 
 Pietro Liberl 
 Jan Lievens 
 Jacopo Ligozzi 
 
 F.ilippo Lippi 
 
 Giov. Paolo Lomazzo 
 
 Lambert Lombard 
 
 Aurelio Lorn! 
 John Ulrich Loth 
 Carlo Loti 
 
 Benedetto Luti 
 
 M 
 
 i 
 
 C Giulio Clovio 
 £ Bonafone 
 
 Ferd. Van Kefl'el, his fon 
 
 Wouter Crabeth 
 
 Ary de Voys 
 
 Barent Kalraat 
 S Albert Kuyp 
 C Sebaftian Vander Leeuw 
 
 TErneft Laireffe 
 I James Laireffe 
 1 John Laireffe 
 
 Philip Tideman 
 > Jacob Vander Does 
 Ottomar Elliger 
 Theod. Lubienetlki 
 John Hoogzaat 
 " Rembrant Van Rhine. 
 Jan Lievens 
 •< John Pinas 
 Peter Nedek 
 „ John Albertz Roodfeus 
 r.John Greenhill 
 
 < Mary Beal 
 I Buckfliorn 
 
 C Giovanni Francefco Caroto 1 
 \ Giovanni Caroto 
 1 Franc. Torbido, or irMoro • 
 (. Paolo Cavazzuola 
 
 Carlo Loti 
 
 John Verkolie 
 
 Mario Balaffi 
 r Raphaelino del Garbo 
 } Nicolo Zoccolo 
 t Nicolo Cartoni 
 
 Ambrogio Figino 
 T Francis Floris 
 
 < William Kay 
 
 C Hubert Goltzius 
 r Domenico Fiafcella 
 ) Orazio Gentilefchi 
 C Riminaldi 
 
 Carlo Loth, or Loti, his fon 
 f John Vander Meeren 
 
 < Peter Strudel 
 t Daniel Syder 
 
 "Gaetano Sardi 
 
 Pietro Bianchi 
 
 Placido Conftanza 
 | Domenico Piaftrini 
 
 John Baptift Vanloo 
 ^Carlo Vanloo 
 
 John de Mabufe 
 Vincentio Malo 
 
 Andrea Mantegna 
 
 Bartekmi di St. Marco 
 
 John Schoorel 
 
 Antonio Maria Vafallo 
 C Francefco Monfignoii 
 \ Marco Zoppo 
 
 Cecchino del Frate 
 
 Benecettc 
 
[ 77i ] 
 
 MASTERS. 
 
 Bartelemi di St. Marco < 
 
 Carlo Maratti 
 
 Otho Maffeus 
 
 Fran. Mazzuoli, called 
 
 Parmigiano 
 Tomafo Mafaccio 
 Mafiblino 
 
 Agoftino Metelli 
 
 Gabriel Metzu 
 Jan Miel 
 
 Francis Mieris 
 
 Abraham Mignon 
 Francefco Mille 
 
 Mich. Janfen Mirevelt 
 
 Le Moine 
 
 Francefco Mola 
 Henry Mommers 
 
 DISCIPLES. 
 
 (■ Benedetto Ciamfanini' 
 
 Gabriel Ruftici 
 C Fra. Paolo Piftolefe 
 -Giufeppe PaiTari 
 Nicolo Berretoni 
 Giufeppe Chiari 
 Pietro da Petri 
 Girolamo Adam Romano 
 Andrea Lanzano 
 Robert Van Oudenarde 
 Giov. Paolo Mclchiori 
 Antonio Baleftra 
 Andrea Procaccini 
 Giacinto Caiandrucci 
 Agoftino Mafucci 
 Mark Duvenede 
 William Van Inghen 
 Don Vincenzio Vittoria 
 Vromans 
 
 Jeronimo Mazzuoli, called 
 
 Parmigianino 
 Fil ppo Lippi, the Old 
 Tomafo Mafaccio 
 'Domenico Santi, called Min- 
 
 gacc'no 
 Andrea Monticelli 
 Alborefi 
 Giacomo Monti 
 BalthafarBianchini 
 Giacomo Friani 
 Profpero Mangini 
 Mondivi 
 Rolli 
 ..Ludovico Quaini 
 
 Michael Van MufTcher 
 5 John Affelyn 
 (_ Chriftopher Orlandi 
 Lermans 
 
 Peter Van Slingeland 
 Karel de Moor 
 John Mieris, his brother 
 Will. Mieris, his fon, called 
 Young Mieris 
 f His two daughters 
 
 4 Erneft Stuven 
 
 t Maria Sybilla Merian 
 
 5 His two fons 
 t Theodore 
 rPaul Moreelze 
 | Peter Gerritze 
 
 • Claude Cornelifze 
 J Peter Dieterick Kluyt 
 "a John Van Nes 
 j Hendrick Van Vliet 
 I Peter Mirevelt, his fon 
 l_Jacq. Delfr, his grandfon 
 r Madem. Natoire 
 1 Boucher 
 C Nonotte 
 Giovanni Bonati 
 Giov. Bett Buoncuori 
 H Antonio Gherardi 
 John Baptift Foreft 
 . Collandon 
 Rcynier Brakenburg , 
 
 MASTERS. 
 
 Henry Mommers 
 
 Jodocus Mompert 
 
 Nicholas Moojart 
 
 Francefco Moroni 
 Domenico Moroni 
 Pietro Montanini 
 Frederick Moucheron 
 
 Barthol. Murillio 
 
 Jeronimo Mutiano 
 N 
 
 Battifta Naldini 
 
 Peter Neefs 
 Arnold Vander Neer 
 Eglon Vander Neer 
 
 Gafpard Netfcher 
 
 Conftantlne Netfcher 
 Mario Nuzzi, called 
 Fiori 
 
 Adam Van Oort 
 
 Anthony Van Opftal 
 
 Bernardo Orgagna 
 Andrea Orgagna 
 Bernard Van Orlay 
 
 Adrian Ofrade 
 
 Albert Van Ouwater 
 
 P 
 
 Francifco Pacheco 
 
 Battifta Pagi 
 
 Antonio Palermo 
 
 Palma Vecch'o 
 
 Young Palma 
 Pamfilio 
 
 Carlo Fran. Pamfilio 
 Pietro Paolini 
 5 E z 
 
 DISCIPLES. 
 
 C Bernard Schyndal 
 I Dirk Maas 
 
 James Fouquieres 
 X Jacob Vander Does 
 I John Baptift Weeninx 
 
 Paolo Cavazzuola 
 
 Francefco Moroni 
 
 Giofeffo Laudati 
 
 Ifaac Moucheron, his fon 
 Tjofeph Murillio, his fon 
 j Cavalier Vilhvicienfo 
 j Clement de Torres 
 J Don John Simon 
 j Stephen Marquez 
 LSebaftian le Mulate 
 
 Caefar Nebula 
 
 {Domenico Crefti, called Paffi 
 gnano 
 Francefco Curradi 
 Balducci 
 
 Peter Neefs, his fort 
 
 Eglon Vander Neer 
 
 Adrian Vander Werf 
 /■Theod. Netfcher 7 h' s 
 J Conftant. Netfcher J fons 
 "j Jacob Vander Does 
 (_ John Vollevens 
 
 Conrade Roepel 
 da CBatt. Gauii, tailed Baccici 
 I Domenico Bettini 
 
 r Peter Paul Rubens 
 \ Jacques Jordaens 
 } Sebaltian Frank 
 (. Henry Van Balen 
 r John Mytens 
 l Jaques de Roore 
 
 Andrea Orgagna 
 
 Andrea Pifano 
 
 Peter Kouc 
 r Cornelius Bega 
 < Cornelius Dufart 
 C Ifaac Oftade 
 
 Gerrard Van Haerlem 
 
 Don Diego Velafquez 
 r Pietro Maria Gropalio 
 .< Benedetto Caftiglione 
 L Domenico Fiafella 
 
 Jacques Bakker 
 r Lorenzo Lotto 
 < Venctiano Bonefacio 
 I Francefco Zugni 
 
 Jacopo Albarelli 
 C Carlo Francifco Nuvalone, 
 l called Pamfilio 
 
 Federigo Panza 
 
 Giovanni Maracci 
 
 Toh 
 
[ 772 ] 
 
 MASTERS. 
 John Parcelles 
 
 Jofeph Parrocel 
 
 Bartol. Paffero'.ti 
 Giov. Batt. Paflbrl 
 
 Paflignano 
 
 Lorenzo Pafiinelli 
 
 Joachim Patenier 
 Santo Peranda 
 
 Pietro Perugino 
 
 Gerrard Peters 
 Alexander Petit 
 
 Balthafar Peruzzi 
 
 Pierino del Vaga 
 
 Pietro da Vecchia 
 Sebaftian del Piombo 
 
 Cornel. Poelernburg 
 
 Pietro Pollajuolo 
 
 Pomerancio 
 
 Giov. Matteo Ponzoni 
 
 Audrea Porta 
 
 DISCIPLES. 
 
 Julius Parcelles 
 J" Charles Parrocel, his fon 
 J Ignat. Parrocel "I ,. , 
 i PeterParrocel> hlsne P hew3 
 L Francis Sylveftre 
 C Francefco Brizio 
 ■S Francefco Vanni 
 * Agoftino Caracci 
 
 Giufeppe Paflari 
 
 (Mario Balafll 
 Francefco FurinI 
 Sirnon Pignoni 
 Pietro Sorri 
 Aleffandro Tiarini 
 Ottavio Vannini 
 ^Giufeppe dal Sole 
 Giufeppe Mazza 
 Candido Vitali 
 Giofeffb Maria Bartolini 
 Giov. Petro Zanotti 
 } Giofeffb Gambarini 
 I Aureliano Milani 
 
 IAIeflandro Mar. Furinefe 
 Therefia Muratori 
 LFrancefco Baffi 
 Francis Moftart 
 Filippo Zanimberti 
 Raphael Santio da Urbino 
 Girolamo Genga 
 Rocco Zoppo 
 Nicolo Soggi 
 Pietto il Monte Varchi 
 Gerino da Piftoia 
 Baccio Ubertino 
 Andrea Luigi D'Aflifi 
 Bernardino Pinturiccio 
 Giov. Antonio L'Appoli 
 ^Benedetto Caporali 
 Govarts 
 
 William Doudyns 
 r Daniel Ricciarelli da Volterra 
 i Francefco Sanefe 
 t Domenico Bcccafiumi 
 f" Marcello Venufti 
 I Mantuano 
 
 < Siciolante da Sermoneta 
 I Ludovico Vargas 
 \. Livio Agrefti 
 C Agoftino Litterini 
 £ Juan Segala 
 Tomafo Laurati 
 n Vander Lis 
 
 J- Daniel Vertangen 
 Varrege 
 Francis Verwilt 
 Warnard Van Rifen 
 I John David Hanfbergen 
 I William Van Steenrec 
 I Little Mofes 
 L Gerard Hoet 
 Antonio Pollajuolo, his fon 
 Bartolomeo Manfredi 
 Andrea Celefti 
 Ferdinando Porta, his fon 
 
 r-Johr 
 
 MASTERS. 
 
 Licinio Pordenone 
 
 Peter Potter 
 Henry Pott 
 Francis Pourbus 
 Nicolo Pouflin 
 
 Gafpar Pouflin 
 
 Primaticcio 
 
 Ercole Procaccini 
 
 Jul. Ca;f. Procaccini 
 Camillo Procaccini 
 
 Adam Pynaker 
 Domenico Puligo 
 Giacomo da Puntormo 
 
 Erafmus Quellinus 
 
 R 
 
 Raphael 
 
 Raphaelino del Garbo 
 
 Raphael de Reggio 
 Raphael dal Colle 
 Hubert Raveftein 
 
 Rembrandt 
 
 DISCIPLES, 
 
 C Julio Licinio Pordenone 
 \ Pompenio Amaltheo 
 
 Paul Potter 
 
 William Kalf 
 
 Gualdorp Gortz'ms 
 
 Gafpar Pouflin, or Dughet 
 r Crefcentio 
 
 < Jacques de Roofter, of Mechlin 
 C Vincentio 
 
 Mefl'er Nicolo da Modena 
 r Camillo Procaccini 
 4 Jul. Caef. Procaccini 
 t Carlo Ant. Procaccini 
 . C Ercole Juniore 
 J Daniello Crefpi 
 
 {Califto Toccagni 
 Giacinto da Medea 
 Lorenzo Franchi 
 Ludovico Caracci 
 Carlo BifH 
 Gylbert Verhoeck 
 Domen. Beceri. Florentine* 
 Battifta Naldini 
 
 { 
 
 Erafmus Quellinus, his fon 
 Artus Quellinus 
 Jof. Vanden Kerckhove 
 Anthony Schoonjans 
 Wallerant Vaillant 
 
 -Julio Romano 
 
 Francef. Penni, or II Fattore- 
 
 Polidoro da Caravaggio 
 
 Maturino 
 
 Pierino del Vaga 
 
 Pelegrino da Modena 
 
 Michael Coxis 
 
 Gaudentio 
 
 Giovanni da Udino 
 
 Raphael dal Colle 
 
 Benvenuto Garofalo 
 
 Bartol. da Bagnacavallo 
 
 Timoteo da Urbino 
 
 Vincen. da San Geminiano 
 
 Bernard Van Orlay 
 -Peter Campanna 
 C Bronzino 
 l Baftiano 
 
 Giufeppe D'Arpino 
 
 Chriftofano Gerardi 
 
 John Hanneman 
 ■"Leonard Bramer 
 
 Gerard Douw 
 
 Govert. Flink 
 
 Adrian Verdoel 
 
 Heyman Dullaert 
 
 Ferdinand Bol 
 
 Gerbrant Vander Eeckhout 
 I Jacob Laveque 
 V. Nicholas Maas 
 
 Rembrandt 
 
[ 
 
 773 3 
 
 MASTERS. 
 
 Rembrandt 
 
 Sebaftian Ricci 
 Baptifta Ricci 
 Felice Riccio 
 Claudio Ridolfi 
 
 Hyacinth Rigaud 
 Anthony Rivals 
 Roland Roghman 
 
 John Hendrick Roos 
 
 Giov. Fran. Romanelli 
 Girolamo Romanino 
 
 Salvator Rofa. 
 
 Cofimo Rofelii 
 
 Matteo Rofelii 
 Rofetti 
 
 James Rouffeau 
 Maitre Roux, or Roflb 
 
 Peter Paul Rubens 
 
 Francefco Rufca 
 Giov. Franc. Ruftici 
 Jacob Ruyfdal 
 
 DISCIPLES. 
 
 "Bern. Keillh, of Denmark 
 Jurian Ovens 
 Paudits 
 
 Michael Willemans 
 Sam. Van Hoogeftraeten 
 Arent de Gelder 
 Droft 
 
 Philip de Koningh 
 Godfrey Kneller 
 Marco Ricci 
 Pietro Anton. Barbieri 
 Alex. Veronefe, called Turchi 
 Simone Cantar. da Peflaro 
 f Nicholas Defportes 
 l Jean Rane 
 
 T Chevalier Rivalz, his fon 
 
 < Bartholomew Rivalz 
 
 I Peter Subleyras 
 
 C Peter Wouwermans 
 
 I John Griflier, the Old 
 
 r Philip Roos, called Rofa da 
 
 J Tivoli 
 
 t John Melchior Roos 
 Urbano Romanelli, his fon 
 Jeronimo Mutiano 
 
 r Auguftin Rofa, his fon 
 
 \ Bartolomeo Torregiani 
 \ Giov. Grifolfi, da Milano 
 
 C Pietro Montanini 
 
 fPietro di Cofimo 
 
 I Andrea di Cofimo 
 Mariotto Albertinelli 
 1 Mario Balafli 
 "S Baldaffare Francefchini 
 
 I Francefco Furini 
 Baccio, or Bartelemi da 
 ^ St. Marco 
 O Lorenzo Lippi 
 \ Giov. Manozzi, called Gio- 
 £■ vanni da San Giovanni 
 Marcello Provenzale da Cento 
 Philip Meufnier 
 Domenico Barbieri 
 "Anthony Vandyck 
 David Teniers, the Old 
 Jacques Jordaens 
 Peter Soutman 
 Francis Wouters 
 Van Mol 
 
 Abraham Diepenbeck 
 Mathys Vandenberg 
 J Theodore Van Thulden 
 ' Samuel Hoffman 
 Deodate del Mont 
 John Van Hoeck 
 Erafmus Quellinus 
 Lang Jan 
 Juftus, or Jouft 
 Cornelius Schut 
 Gerard Segers 
 .William Backereel 
 Antonio Zanchi 
 Baccio Bandinelli 
 Ifaac Koene 
 
 MASTERS. 
 
 DISCIPLES. 
 
 David Ryckaert, the Old Nicholas de Helt Stoccadc 
 David Ryckacrt, the Young Gonzales. Coques 
 Warnard Van Ryfen Gerard Hoet 
 
 Andrea Sacchi 
 Carlo Sacchi 
 
 Herman Sachtleven 
 
 Archang. Salimbeni 
 Tommafo Salini 
 
 Francefco Saiviati 
 
 Ant. Saiviati, of Bologn 
 Jacopo di Sandro 
 Tomafo Sandrino 
 Giov. GiofefFo Santi 
 
 Andrea del Sarto 
 
 Roland Savery 
 Ludov. Scaramuccia 
 
 Godfrey Schakken 
 
 William Schellinks 
 
 John Schoreei 
 
 Anthony Schoonjans 
 Chriftopher Schwartz 
 
 Gerard Segers 
 
 Daniel Segers 
 Andrea Semini 
 Luca Signorelli 
 Giov. Andrea Siranl 
 Peter Snayers 
 
 C Carlo Maratti 
 2 Ludovico Gatzi 
 
 {Carlo Girolamo Berfotti 
 Bernardino Ciceri 
 ~ John Vofterman 
 John Griffier 
 Ludolph de Jonghe 
 William Van Bemmel 
 John Van Bunnik 
 5 Francefco Vanni 
 I Pietro Sorri 
 Maria Nuzzi, or da Fiori 
 
 {Roviale Spagnuolo 
 Domenico Romani 
 Giufeppe Porta 
 Annibal Nanni 
 
 M. Ang. Cerquozzi, di Battaglia, 
 Tomafo Manzuoli 
 Ottavio Viviani 
 ^Angelo Mich. Cavazzoni 
 ""Cecchino Saiviati 
 Jacomo Puntormo 
 Francefco Saiviati 
 Giorgio Vafari 
 Giacinto Sandro 
 Nannoccio 
 Tacone 
 
 Andrea Squazzella 
 Domenico Conti 
 L3mbert Lombard 
 ^Giacomo dal Conte 
 r Ifaac Major 
 
 < Aldret Van Everdingen 
 L William Nieulant 
 
 S Andrea Lanzano 
 I Andrea Po/Fo 
 
 {David Boon, of Amfterdam, 
 Simon Germyn 
 Karel de Moor 
 Juftus Van Bentum 
 Daniel Schellinks 
 V Antonio More 
 1 Martin Hemfkirk 
 .George Gefel 
 George Befam 
 fj- Phil. Van Thielen, or Cou- 
 wenberg 
 
 < Jan Miel 
 
 Ottomar Elliger, the Old 
 j Lucas Francois, the Young 
 • Lucafz Peters 
 LTho. Willeborts Boffchart 
 
 Philip Van Thielen 
 
 Bernardino Caftelli 
 
 Girolamo Genga 
 
 Elizabetha Sirani 
 
 Anth. Fran. Vander Meulen 
 
 Francis 
 
[ 774 ] 
 
 Andrea Taffi 
 Emilio Taruffi 
 
 Agoftino Taffi 
 
 Adr. Vanden Tcmpel 
 Peter Tempefta 
 
 MASTERS. 
 
 Francis Snyders 
 
 Bernardo Soiaro 
 Ant. Maria dal Sole 
 
 Giufeppe dal Sole 
 
 Matteo Sorella 
 Pietro Sorri 
 
 Francefco Solimena 
 
 Spinello Aretino 
 Barthoi. Sprangher 
 
 Spagnolctto 
 
 Francefco Squarcione 
 Gherardo del la Stamina 
 Stefano Fiorentina 
 Lorenzo di Stefano 
 
 Giov. Bat. Stefanefchi 
 Henry Stenvvyck 
 John Stradanus 
 Bernardino Strozzi 
 
 Erneft Stuven 
 
 Herman Swanefeld 
 Julius Subtermans 
 
 EuftachiusLe Sueur 4 
 
 DISCIPLES. 
 
 f Nicafius Bernaert 
 I Jurian Jacobfz 
 < Van Boucle 
 I Boul 
 
 L Griff 
 
 S Bartholomew Sprangher 
 t Sophonilba Angofciola 
 
 Giufeppe dal Sole 
 C Therefia Muratori 
 J Girolamo Donini 
 "S Felice Torelli 
 (. Battiftino Grati 
 
 Baldaffare Francefchini 
 C Bernardino Strozzi, called Prete 
 
 Genovefe 
 C Giacinto Corrado 
 Sebaftian Concha 
 Francef. delta Mura, called 
 
 Francefchiello 
 Giufeppe Guerra 
 Nicolo Maria Rcffi 
 Giufeppe da Cartel da more 
 Ferdinando da San Felice 
 r Paris Spinello, his fon 
 j Lorenzo di Bicci 
 
 John Van Ach 
 r Luca Giordano 
 ) Adrian Van Linfchoten 
 {_ Salvator Rofa 
 Andrea Mantegna 
 Maflolino da Panicale 
 Domenico Moroni 
 Liberale Veronefe 
 C Hippolito Galanrino, called 
 I Cappuccino 
 r Peter Neefs, the Old 
 
 < Henry Stenwyck, his fon 
 C Wolff Aveman 
 f Antonio Tempefta 
 C Scipio Stradanus, his fon 
 C Clemente Bocciardi 
 
 < Giov. Francefco Caflana 
 1 Antonio Travi da Seftri 
 V Herman Vander Myn 
 I Elias Vanden Broek 
 
 James Rouffeau 
 Ant. Domenico Gabbiani 
 Peter Le Sueur 
 Philip Le Sueur 
 Anthony Le Sueur 
 Thomas Goulai 
 Nicholas Colombel 
 ,,Le Fevre 
 
 MASTERS. 
 
 DISCIPLES. 
 
 Buonamico Buffalmacco 
 Maria Helena Panzacchia 
 
 r Ottavio Viviani, called Co- 
 
 ) dazzo 
 
 t Claude Lorraine 
 
 f Francis Mieris 
 
 I Ary de Voys 
 J Ifaac Palling 
 
 1 Michael Van Muffcher 
 
 ^ Karel de Moor 
 Scipio Cignaioli 
 
 Dav. Teniers, the Young 
 
 Gabriel Temntino 
 Gerard Terburgh 
 
 Auguftin Terweften 
 
 Tintoretto 
 Santi di Titi 
 
 Dav. Teniers, the Old 5 ^avid Teniers 7 his 
 I Abraham Teniers J fons 
 ►Abfhoven of Antwerp 
 De Hont 
 Ertebout 
 
 Arnold Van Maas 
 ^ Abra. Teniers, his brother 
 ' Vincentio Malo 
 
 Hendrick Martenze Sorgh 
 i Domenick Ryckaert 
 I- Van Helmont 
 
 Mich. Ang. Colonna 
 C Gafpar Netfcher 
 1 Roel of Koets 
 5 Elias Terweften 
 I Matthew Terweften 
 r Young Palma 
 J Domen. Tintoretto, his fon 
 J Maria Tintoretto, his daughter 
 "S H. Staben 
 J John Rothenamer 
 l_Martin de Vos 
 
 Agoftino Ciampelli 
 f Francef. Vecelli, his brother 
 Horatio Vecelli, his fon 
 Giacomo Tintoretto 
 Battifta Zelotti 
 Paris Bordone 
 John Calkar 
 Andrea Schiavone 
 ^ Hernandez el Mudo 
 Giacomo Palma 
 Nadalino del Murano 
 Damiano Mazza 
 Giovanni Fiamingo 
 Alefi'andro Buonvincino 
 AlelTandro Maganza 
 Giov. Mar. Verdizzotto 
 Dieterick Barent 
 Jacopo da Err.poli 
 5 Francis Mieris, the Old 
 l Mathys Neveu 
 Giov. di Giorgio Torellino 
 Giovanni Viani 
 Antonio Meloni 
 
 Titiano Vecelli 
 
 Tomafo da San Friano 
 
 Jacques Toornvliet 
 
 Felice Torelli 
 Flamminio Torre 
 Francefco Trevifani 
 
 Louis de Vadder 
 Simon de Valk 
 Gilles Valkenburgh 
 Charles Vanmander 
 
 Anthony Vandyck 
 
 Ejlon Vanderneer 
 
 Ant. Francis Vander 
 Meulen 
 
 Francifcus Vannius 
 
 Lucas Acht/hellinks 
 Adrian Vander Venne 
 Hendrick Vander Borcht 
 Francis Hals 
 
 f John Hanneman 
 
 1 Lang Jan 
 < David Beck 
 
 I James Gandy 
 
 L Bertram de Fouchier 
 Adrian Vander Werff 
 
 r Martin, the Elder 
 
 < Boudouin 
 
 *• Bonnart 
 
 {Rutilio Manetti 
 Raphael Vanni 
 Aftolpho Petrazz! 
 Mich. Ang. Vanni 
 
 Jacob 
 
I 775 ] 
 
 MASTERS. 
 
 Jacob Vanloo 
 Lucas Van Uden 
 
 Adrian Vandervelde 
 
 Efaias Vandervelde 
 William Vandervelde, 
 the Old 
 
 Alefiandro Varotari 
 
 Antonio Vaftilaochi 
 
 Don Diego Velafquez 
 
 Antonio Venetiano 
 
 Domenico Venitiano 
 
 Otho Venius 
 
 Peter Verbeck 
 Ant. Vercelli, Sodoma 
 Gafpar Pet. Verburgh 
 John Verburgh 
 Verendaal 
 
 Tobias Veihaecht 
 
 Jan Verkolie 
 
 Andrea Veroccio 
 
 Paolo Veronefe 
 
 Liberale Veronefe 
 
 Henry Verfchuring 
 Philip Uffenbach 
 Giovanni Viani 
 
 Domenico Mar. Viani 
 
 Jacopo Vignali 
 
 Vincenzo da Stefano 
 Vincentio 
 
 Lionardo da Vinci 
 
 DISCIPLES. 
 
 Eglon Vanderneer 
 Jacques Van Uden ' 
 
 {Dirk Vandenberg 
 Jacob Koning- 
 John Vander Bent 
 Peter Vander Leeuw 
 John Van Goyen 
 C William Vandervelde, the 
 £ Young 
 f Julio Carpione 
 \ Pietro di Vecchia 
 * Clara Varotari 
 5 Paolo Farinato 
 1 Battirta Zelotti 
 5 Juan de Pareja 
 I Bartholomew Murillio 
 5 Paolo Mazocchi, called Uccello 
 £ Gherardo Stamina 
 
 Andrea del Caftagno 
 f Peter Paul Rubens 
 C Gertrude Venius, his daughter 
 Gilles Schagen 
 Daniel da Volterra 
 David Bailii 
 John Bronkhorft 
 N. Morell 
 'l Peter Paul Rubens 
 I ' Martin Ryckaert 
 Nich. Verkolie, his fon 
 Vander Wilt 
 1 Vander Spreet 
 Albert Vanderburgh 
 Henry Steenwinkle 
 w William Verfchuring 
 "Pietro Perugino 
 
 Lionardo da Vinci 
 . Francefco di Simone 
 \ Agnolo di Polo 
 
 Lorenzo di Credi 
 ^Giov. Francefco Ruftici 
 "Bened Cagliari, his brother 
 Carletto Cagliari, 7 h;s fons 
 j Gabriel Cagliari, 5 
 | Dario Varotari 
 J Claudio Ridolfi 
 V^Antonio Vaflilacchi 
 C Francefco Torbido, called II 
 \ Moro 
 
 {William Verfchuring 
 Matthew Vytman 
 Adam Elmeimer 
 C Domenico Maria Viani 
 l Pietro Francefco Cavazza 
 T Mich. Ang. Monticelli 
 \ Carlo Antonio Rambaldi 
 t Giofeffo Orfoni 
 
 {Carlo Dolce 
 Domenico Bettini 
 Liberale Veronefe 
 Mich. Ang. di Battaglia 
 * Antonio Boltraffio 
 Casfare da Sefto 
 Jacopo Puntormo 
 Francifco Melzi 
 Giov. Francefco Ruftici 
 
 MASTERS. 
 
 Lionardo da Vinci 
 
 Daniel Voltelmans 
 Simon de Vliegar 
 
 Daniel da Volterra 
 
 John Voorhout 
 Conftantine Voorhout 
 John Vofterman 
 William De Vos 
 
 Simon Vouet 
 
 Ferdinand Voet 
 John de Vries 
 Cornelius Vroom 
 
 W 
 
 John de Waal 
 Anthony Watteau 
 
 John Baptift Weeninx 
 
 Adrian Vander Werft" 
 
 wicholas Wieling 
 
 Adam Willaerts 
 Jan Wils 
 
 John Van Winghen 
 Emanuel de Wit 
 Michael Wolgemuih 
 
 Philip Wouwermans 
 
 DISCIPLES. 
 
 C Bernardo Lovino 
 J Andrea Salaino 
 "l Marco Uggioni 
 L Paolo Lomazzo 
 Paul Bril 
 
 Will. Vandervelde, junior 
 
 J Paolo Rofetti, da Volterra 
 Rocca 
 Marc > da Siena 
 Michael Alberti 
 Pellcgrino Tibaldi 
 Feliciano da San Vito 
 Biagio da Carigliano 
 GiulioMazzoni 
 Erneft Stuven 
 John Voorhout 
 John Soukens 
 Julius Subtermans 
 'Charles Le Brun 
 Francis Perrier 
 Nicholas Chaperon 
 Euftachius Le Sueur 
 John Baptift Mole 
 Tartebat 
 
 Nicholas Dorigny 
 J Char. Alphonle du Frefnoy 
 » Valentino 
 Peter Mignard 
 Charles Poerfon 
 Michael Corneille 
 Louis Teftelin 
 Belli 
 
 Aubin Vouet, his brother . 
 Noel Coypel 
 Jacopa D'Agar 
 Henry Stenwyck 
 John Parcelles 
 
 Cornelius de Waal 
 John Baptift Pater, called 
 
 Patere 
 Nicholas Lancret 
 John Weeninx, his fon 
 Nicholas Berchem 
 Theodore Valckenburgh 
 Peter Vander Werft' 
 John Chriftian Sperling 
 Bartholomew Douven 
 Julius Limbourg 
 John Abel Wafi'enburg 
 
 . — Vandyck 
 
 {Nicholas Duval 
 Auguftin Terweften 
 Abraham Willaerts, his fon 
 Nicholas Berchem 
 Otho Venius 
 Henry Van Streek 
 Albert Durer 
 C Peter Wouwermans, 7 his 
 I John Wouwermans, $ bromers 
 ) John Griffier 
 (.John Vander Bent 
 
 Philip 
 
[ 77 6 1 
 
 MASTERS. 
 
 Philip Wouwermans 
 Thomas Wyckc 
 John Wycke 
 
 John Wynants 
 
 Martin Zaagmoolen 
 Antonio Zanchi 
 
 DISCIPLES. 
 
 C Barent Gaal 
 
 I Emanual Murant 
 
 John Wycke 
 5 . . . • Wooton 
 I John Van Hugtenburgh 
 C Philip Wouwermans 
 I Adrian Vandervelde 
 
 Miehael Van Muflcher 
 Francefco Trevifani 
 
 MASTERS. PISCIPLES. 
 
 HendricMart. Zorgh, or 7 , 
 
 g Qrg j 1 " ■ J Abraham Diepraam 
 
 „ . > „ » C Bartol. Pafierotti 
 
 TaddeoZucchero | Federigo Zucchero 
 
 r Otho Venius 
 1 Raphael da Reggio 
 Federigo Zucchero J Domen. Paffignano 
 J Francefco Vanni 
 [ Jacob Bunel 
 
 JaC bu r g VaI> ZWanen " ! ^»*r»«Jt Van Rya 
 
CATALOGUE 
 
 OF 
 
 Thofe PAINTERS who imitated the Works of the most eminent 
 MASTERS, with fo great a Similitude of Style, Touch, and Colouring, 
 that the Works of the former are frequently miftaken, for the latter; though, 
 to a penetrating Judgment, the Difference may be plainly perceptible. 
 
 MASTERS. 
 
 imitators. 
 
 AlbanQ, imitated by Giov. BattiftaMola 
 
 Backhuyfen, 
 
 Bambocclo, 
 Baroccio, 
 Breemberg, 
 Berchen, 
 Paul Bril, 
 
 M. A.Buonaroti, 
 
 Bourgognone, 
 John Brueghel, 
 
 Annibal Caracci, 
 Ludovico Caracci, 
 Caravaggio, 
 Valerio Caftelli, 
 
 by 
 
 Giacomo Baffano, by < 
 
 Carlo Cignani, 
 Claude Lorraiae, 
 
 by 
 by 
 by 
 by 
 by 
 
 Benedetto Caftiglione, by 
 
 Henry Rietfchoof 
 "Leandro Baffano 
 Francefco Baffano 
 Pet. Cornelius Derick 
 David Teniers, the Young 
 Tiberio Tinelli 
 w Luca Giordano 
 Barent Graat 
 Giufeppe Maria Crefpi 
 Gofredy 
 John Sibrechts 
 William Nieulant 
 , C Gregorio Pagani 
 
 y | Pellegrino Tibaldi 
 by Peter Verhoeck 
 by John Van Breda 
 
 r Jacomo Cavadone 
 by I Jacques Van Ooft, the Old 
 
 t Annibal Maffari 
 by | Paolo da Mattel 
 
 r Manfredi 
 by < Anthony Rivalz 
 
 t- Valentino 
 by Giov. Paolo Cervetto 
 
 by 
 by 
 
 Francefco Caftiglione 
 Ludovico Quaini 
 John Domenique 
 
 MASTERS. 
 
 Correggio, 
 
 Pietro da Cortona, by 
 
 Lewis Deyfter, 
 Carlo Dolce, 
 
 Gerard Douw, 
 
 Adam Elflieimer, 
 
 IMITATORS. 
 
 {Caefar Arethufi 
 Ludov. Cardi, called Cigoli 
 Bartol. Schidone 
 Girolamo da Carpi 
 Paoio da Mattei 
 Ciro. Ferri 
 
 by Anna Deyfter 
 by Onorio Marinari 
 
 r Peter Slingeland 
 by i Gafpar Netfcher 
 
 C Godfrey Schalcken 
 
 r James Erneft Thomas, of Lan- 
 
 by J d3W 
 
 y 1 Liule Mofes 
 {_ Solomon 
 
 Fouquieres, by 
 Pietro della Francefca, by 
 John Fytt, by 
 
 Gerrard, 
 Ghifolfi, 
 
 Giorgione^ 
 5 F 
 
 by 
 by 
 
 by 
 
 Belin 
 
 Luca Signorelli 
 David de Koninck 
 
 Jan Verkolie 
 Bernardo Racchetti 
 Pietro da Vecchia ' 
 Sebaftiaa del Piombo 
 Bart, da Bagnasavallo 
 
 Giotto, 
 
C 778 ] 
 
 MASTERS. 
 
 Giotto, 
 
 John Glauber, 
 Guido, 
 
 IMITATORS. 
 
 jj 5 Tomafo di Stefano, called 
 
 I Giottino 
 b 5 J * 1 " Gotlief Glauber, his bro- 
 y I ther 
 
 rFlamminio Torre 
 
 f Giov. Batt. Bolognlni 
 
 ! Bon Boullongne 
 by-^ Luca Giordano 
 
 j Francefco Geffi 
 
 I Paolo da Metti 
 
 l_Giacomo Sementa 
 
 H 
 
 David de Heem, 
 William de Heufch, 
 
 Hans Holbein, 
 
 by Cornelius de Heem 
 by Jacob de Heufch 
 . T Chriflopher Amberger 
 I John Afper 
 
 Melch. Honderkoeter, by | J ohn V p an A £ n > or ? !en 
 I Fran. Peter Verkeyden 
 
 John Van Huyfum, by Jacob Van Huyfum 
 
 Jardyn, 
 
 Lanfranc, 
 Carlo Lot!, 
 
 by John Sibrechts 
 
 by Cavalier Beina'chi 
 , 5 Daniel Syder, called Cavaliere 
 y I Daniello 
 
 M 
 
 Manfredi, 
 
 Andrea Mantegna, 
 Mazzuoli, called 
 
 Parmigiano, 
 Metzu, 
 Jan Miel, 
 
 Mieris, the Old, 
 
 Moojart, 
 
 ^ v C Gerard Segers 
 
 ' (_ Valentino 
 
 by Giov. Francefco Caroto 
 
 7 , C Francefco Mazzuoli 
 
 5 l Vincenzo Caccianemici 
 
 by John Van Geel 
 
 by John Aflelyn 
 
 b ^ ^ C 
 
 by 
 
 William Mieris, his fon 
 Old Weeninx 
 
 N 
 
 Netfcher, 
 
 Oftade, 
 
 by 
 
 r Ger 
 \ Pau 
 C Mat 
 
 Gerard Terburg 
 
 1 Ryckaert 
 Matthew Wytman 
 
 by Cornelius Bega 
 
 Palma, 
 
 John Parcelles, 
 
 Paffignano, 
 Parrocel, the Old, 
 Parmigiano, 
 
 Venetiano Bonefacio 
 Julius Parcelles — Both of them 
 marked their pictures with 
 
 ; p. 
 
 by- Mario Balaffi 
 by ^ ^ 
 
 C Tu!h 
 
 1 I 
 
 by 
 
 Ignat. Parrocel, his nephew 
 Bartelemi Schidone 
 
 MASTERS. 
 
 Piazetta, 
 
 Eonaventure Peters, 
 Pierino delVaga, 
 
 Poelemburg, 
 
 Pietro, dal Borgo, 7 
 San Sepulchro, J 
 Paul Potter, 
 
 Gafpar Pouffin, 
 
 Pordenone, the Old, 
 Puntormo, 
 
 R 
 
 IMITATORS. 
 
 by - Francis Kraufe 
 
 by John Pe'ers, his brother 
 
 by Bon Boullongne 
 
 {Little Mofes 
 Daniel Vertangen 
 Jan Lis 
 Old Griffier • 
 John Hanfbergen 
 
 by Luca Signorelli 
 
 by John Le r Duc 
 , C Peter Ryfbraeck 
 
 2 Antonio Calza 
 by Pordenone, the Young 
 Bronzino 
 
 Raphael, 
 
 Rembrandt, 
 
 Salvator Rofa, 
 
 Rubens, 
 Ruyfdael, 
 
 Andrea del Sarto, 
 John Schoorel, 
 . . . Segers, 
 Henry Steenwyck, 
 
 Snyders, 
 
 David Teniers, 
 the Young, 
 
 Tintoretto, 
 
 TitianoVecelli, 
 
 by< 
 
 by. 
 
 by 
 
 by 
 by 
 
 Saflb Ferrato 
 
 Jacopo da Empoll 
 
 Andrea del Sarco 
 
 Timoteo da Urbino 
 
 John Calkar 
 
 Bartol. da Bagnacavallo 
 
 Paolo da Mattei 
 
 Leonard Bramer 
 
 Gerbra. Vanden Eeckhcut 
 
 Heyman Dullaert 
 
 Govert Flink 
 
 Arent de Gelder 
 
 Montanini 
 
 H. Spierings 
 
 Bartolomeo 
 
 Van Ooft 
 
 Old Griffier 
 
 by Tacone, and Jac. da Empoli 
 by Martin Hemlkirk 
 by Ottomar Elliger, the Old 
 by David Bailii 
 
 r Vanboucle 
 by ) De Vos 
 
 C Francis Mierhop 
 
 {Old Griffier 
 Domenick Ryckaert 
 Van Helmont 
 Francis du Chatel 
 by Luca Giordano 
 
 rGirolamo da Titiano 
 1 
 
 by< 
 
 Francefco Cairo 
 John Calkar 
 Luca Giordano 
 Paolo da Mattei. 
 Jacopo da Empoli 
 Damiano Mezzi 
 Flamminio Torre 
 
 Valentino, 
 
 by Anthony Rivalz 
 
 Vandyck, 
 
L 779 3 
 
 MASTERS. 
 
 Vandyck, 
 
 Venetiano, 
 Velafquez, 
 
 P. Veronefe, 
 
 IMITATORS. 
 
 r Theodore Netfcher • 
 
 1 Laog Jan 
 byJ Mytens 
 
 J Van Ouft 
 
 ^ John Hanneman 
 by. John le Clerc 
 by Juan de Pan ji 
 
 r Benedetto Cagliari 
 
 I Carletto Cagliari 
 by J Francefco Cairo 
 
 I Jacopo da Empoli 
 
 (_ Flamtninio Torre 
 
 Lucas Van Uden, by Jacques Van Uden, his brother 
 
 MASTERS. 
 
 Lionardi da Vinci, 
 W 
 
 Watte au, 
 
 Weeninx, the Old, 
 Philip Wouwermans, 
 
 IMITATORS. 
 
 , C Lorenzo di Credi 
 "* l Paolo Lomazzo 
 
 by 
 
 C Nicholas Lancret 
 I John Baptift Peter 
 by Young Weeninx 
 
 C Peter Wouwermans 
 . \ John Linglebach 
 ^ J Peter Van Bloeman 
 (. John Van Breda 
 
 It having been doubted by feveral writers, whether Hans Holbein was not the only 
 Painter who worked with his left hand, I thought it might not be unacceptable to the 
 lovers of the art, to mention the names of fuch artifts as are noticed in the Biographia y 
 and were remarkable for working with the left hand, and alfo with both hands. 
 
 Americo Afperito, Worked equally eafy with both hands, and on that 
 
 account *as called, Amico da due PeneJli. 
 Ludovico Cangiagio, Worked with both hands. 
 
 Hans Holbein, Worked with the left. 
 
 Cornelius Kettel, Worked not only with his left, but painted with the 
 
 ends of his fingers, inilead of brufhes. 
 Nicholas Mignard, Worked with the left. 
 
 Mozzo, of Antwerp, Worked with the left. 
 
 Rugendas, Worked with both. 
 
 Antonio dal Sole, Worked with the left. 
 
 John Jovenet, Worked with the left, being deprived of the ufe of 
 
 his right hand, by a paraly tic dilorder. • 
 
 5 F 2 
 
SUPPLEMENT: 
 
 CONTAINING 
 
 LIVES OF PAINTERS 
 NOT MENTIONED IN THE DICTIONARY. 
 
 BAR BAR 
 Mr. George BARRET. 
 Painted Landfcape* 
 DIED 1784, AGED 52. 
 
 ThIS artift was born about the year 1732, in the city of Dublin. At a very early 
 period he exhibited a ftrong difpofition to purfue the elegant art in which he fo eminently 
 fucceeded; and, when a boy, attended the drawing academy of Mr. Weft, where, nulli 
 fecundus, he was confidered as an artift of the moft promifing abilities. Of young Barret 
 Nature became the favourite fchool, in fpite of the admonitions of his friend and patron 
 ^Edmund Burke (a great orator, but no painter), who advifed him, again and again, though 
 in vain, to Jiudy pictures. The fublime and beautiful fcenery of Powerfcours, the feat of the 
 Earl of that name, and a friend of Barret, attracted his firft attentions ; at which place he 
 ftudied with the moft ardent and unremitting folicitude. About this time a premium of 
 ^.50 was offered by the Dublin Society for the beft landfcape in oil, for which Mr. Barret 
 contended and won. In the year 1762 he vifited London, where he foon diftinguiftied 
 himfelfj and, the fecond year after his arrrival, gained the ^.50 premium given by the 
 Society for the Encouragement of Arts, Sec. for the beft landfcape in oil. The eftablifh- 
 ment of the Royal Academy of Arts, &c. was in a great meafure indebted to the efforts 
 of Mr. Barret, who formed the plan, and became one of its members. 
 
 He had two decided manners of painting, both with regard to colour and touch ; his 
 firft was rather heavy in both, his latter much lighter. Scarce any painter equalled him 
 in his knowledge or execution Of the details of nature, the latter of which was particularly 
 light, and well calculated to mark moft decidedly the true characters of the various objects 
 he reprefented, foreft trees in particular. His attention was chiefly directed to the true 
 
 colour 
 
BAR [ 782 ] BAT 
 
 colour of Englifli fcenery, in which, in his beft works, he was very happy, as he got all 
 that richnefs and dewy frefhnefs, that fo particularly characterizes the verdure of this 
 climate, efpecially in the vernal months, and which is fo totally different from the 
 colouring of thofe mafters who have formed themfeves on Italian fcenery or Italian pictures. 
 This ftrong defire fometimes tempted him to ufe colours rich and beautiful when firft 
 applied, but which no art could render permanent ; which, in fome of his {lighter works, 
 prevailed to fuch a degree as to leave fcarcely any traces of the original colouring. 
 
 His beft pictures (in this country) in his firft manner, are to be found in the houfes 
 of the Dukes of Buccleugh and Portland, &c. &c. and thofe of his latter in his great 
 work, at Mr. Lock's, at Norbury-Park, Surry, confifting of a large room painted with 
 a continued fcene entirely round. The idea in general characterizes the northern part 
 of this country; and for compofition, breadth of effect, truth of colour, and boldnefs of 
 manner in the execution, has not been equalled by any modern painter. He exerted his 
 powers to the utmoft in this work, as he entertained the warmeft fenfe of Mr. Lock's 
 great kindnefs and friendly patronage. 
 
 He alfo painted in water-colours, in which he excelled. Thefe pictures in general 
 were gay in colour, and pleafing in their compofitions, frequently enriched with bufy 
 figures, employed in works of hufbandry. His drawings in chalk, Indian ink, and black 
 lead pencil, had great merit, particularly the latter. In all his ftudies from nature he was 
 exceedingly correct and minute. 
 
 As a man he was remarkably kind and friendly, gentle in manners, with a vaft flow 
 of fpirits, even to playfulnefs, and a ftrong turn to wit and humour. For the laft ten 
 years of his life, he was obliged, on account of his health, to retire to Paddington, a little 
 village near London, where he painted (in conjunction with Mr. Gilpin, the celebrated 
 animal-painter) fome of his beft eafel-pictures, and retained his full powers to the end 
 of his life. He was interred in Paddington church-yard, leaving a widow and nine 
 children. 
 
 Pompeio BATTONL 
 Painted Portrait. 
 
 DIED I786, AGED 84. 
 
 He was of the Florentine fchool,born at Lucca, in 17,02, and is the moft celebrated of all 
 the painters Italy has produced this century. He was not a very learned artift, nor did he 
 fupply his want of knowledge by deep reflexion. His works do not bear the appearance 
 of an attentive ftudy of the antique, or of the works of Raphael, and the other great 
 mafters of Italy: but nature feemed to have deftined him for a painter, and he followed 
 her impulfe. He was not wanting either in his delineation of character, in accuracy, or 
 in pleafing reprefentation j and if he had not a grand conception, he at leaft knew how to 
 defcribe well what he had conceived. He would have been, in any age, reckoned a very 
 
 eftimable 
 
coo 
 
 [ 783 ] 
 
 G A I 
 
 eftlmable painter : at the time in which he lived, he certainly muft have fhone confpi- 
 cuoufly. His name is known throughout Europe, and his works are every where in 
 eftimation. Mengs, who was a more learned man, was his rival : but, lefs favoured 
 by nature, if he enjoyed a higher reputation, he owed it lefs perhaps to any real fupe- 
 riority than to the commendations of Winckelman. It were to be wifhed that Battoni 
 had poflefTed the knowledge and the conception of Mengs, or that Mengs had been 
 endowed with the natural qualities and picturefque talents of Battoni. 
 
 COOPER. 
 
 Painted Miniature. 
 
 DIED I743, AGED 
 
 He imitated Michael Angelo di Caravaggio in painting fruit and flowers. 
 
 Francis COTES. 
 Painted Portrait. 
 
 He was the fcholar of Knapton, and painted portraits in oil and crayons, in the latter 
 of which he arrived at uncommon perfection, though he died untimely of the ftone in 
 ^uly, 1770, not having paffed the 45th year of his age. His pictures, of the Queen 
 holding the Princefs Royal, then an infant, in her lap ; of his own wife ; of Polly Jones, 
 a woman of pleafurej of Mr. Oberon, the comedian; of Mrs. Child, of Ofterley-park j 
 and of Mifs Wilton, now Lady Chambers ; are portraits which, if they yield to Rofalba's 
 in foftnefs, excel hers in vivacity and invention. 
 
 GAINSBOROUGH. 
 
 Painted Portrait and Land/cape. 
 
 DIED I788, AGED 6l. 
 
 He was born in 1727, and very early difcovered apropenfity to painting. Nature was 
 his teacher, and the woods of Suffolk his academy. Here he would pafs in folitude his morn- 
 ings, in making a fketch of an antiquated tree, a marfhy brook, a few cattle, a fhepherd and 
 his flock, or any other accidental objects that were prefented. From delineation he got to 
 colouring j and after painting feveral landfcapes from the age of ten to twelve, he quitted 
 Sudbury (his native place), and came to London, where he commenced portrait-painter. 
 His portraits will pafs to futurity with a reputation equal to that which follows the 
 pictures of Vandyke j and his landfcapes will eftablifh his name on the record of the fine 
 arts with honours fuch as never before attended a native of this ifle. Thefe fubjects he 
 painted with a faithful adherence to nature ; and it is to be noticed, that they are more in 
 approach to the landfcapes of Rubens than to thofe of any other mafter. At the fame 
 2 time 
 
G A t 
 
 f 7&4 J 
 
 G A I 
 
 time we muft remark, his trees, fore-ground, and figures, have more force and fpirit : 
 and we may add, the brilliancy of Claude, and the fimplicity of Ruyfdael, appear com- 
 bined in Mr. Gainfborough's romantic fcenes. — While we lament him as an artift, let us 
 not pafs over thofe virtues which were an honour to human nature — that generous heart, 
 whofe ftrongeft propenfities were to relieve the genuine claims of poverty. If he felected, 
 for the exercife of his pencil, an infant from a cottage, all the tenants of the humble roof 
 generally participated in the profits of the picture ; and fome of them frequently found 
 in his habitation a permanent abode. His liberality was not confined to this alone: needy 
 relatives and unfortunate friends were further incumbrances on a fpirit that could not 
 deny; and owing to this generofity of temper, that affluence was not left to his family 
 which fo much merit might promife, and fuch real worth deferve. 
 
 The following extract is made from one of Sir Joshua Re ynolqs's Academic Difcourfes, 
 in which the merits of Gainfborough are juftly and candidly appreciated. 
 
 u We have lateJy loft Mr..Gainfborough,oneof the greateft ornaments of our Academy. 
 It is not our bufinefs here, to make panegyrics on the living, or even on the dead who were 
 of our body. The praife of the former might bear the appearance of adulation ; and die 
 latter, of untimely juftice ; perhaps of envy to thofe whom we have ftill the happinefs to 
 enjoy, by an oblique fuggeftion of invidious comparifons. In difcourfing therefore on- 
 the talents of the late Mr. Gainfborough, my object is, not fo much to praife or to blame 
 him, as to draw from his excellencies and defects, matter of inftrudtion to the ftudents 
 in our Academy. If ever this nation mould produce genius fufficient- to acquire to us 
 the honourable diftinction of an Englifh School, the name of Gainfborough will be tranf- 
 mitted to pofterity, in the hiftory of the Art, among the firft of that rifing name. That 
 our reputation in the Arts is now only rifing, muft be acknowledged; and we muft 
 expect our advances to be attended with old prejudices, as adverfaries, and not as fup- 
 porters ; {landing in this refpect in a very different lituation from the late artifts of the 
 Roman School, to whofe reputation ancient prejudices have certainly contributed: the 
 way was prepared for them, and they may be faid rather to have lived in the reputation 
 of their country, than to have contributed to it ; whilft whatever celebrity is obtained by 
 Englifh Artifts, can arife only from the operation of a fair and true comparifon. And when 
 they communicate to their country a fhare of their reputation, it is a portion of fame not 
 borrowed from others, but folely acquired by their own labour and talents. _As Italy has 
 undoubtedly a prefcriptive right to an admiration bordering on prejudice, as a foil pecu- 
 liarly adapted, congenial, and> we may add, deftined to the production of men of great 
 genius in our Art, we may not unreafonably fufpect that a portion of the great fame of 
 fome of their late artifts has been owing to the general readinefs and difpoiition of mankind 
 to acquiefce in their original prepoffeffions in favour of the productions of the Roman 
 School. 
 
 5 « On 
 
G A I [ 785 ] G A I 
 
 « On this ground, however unfafe, I will venture to prophecy, that two of the laft 
 diftinguifhed painters of that country, I mean Pompeio Battoni, and Raffaelle Mengs, 
 however great their names may at prefent found in our ears, will very foon fall into the 
 rank of Imperiale, Sebaftian Concha, Placido Conftanza, Mafluccio, and the reft of their 
 immediate predeceflbr* ; whofe names, though equally renowned in their life-time, are 
 now fallen into what is little fhort of total oblivion. I do not fay that thofe painters 
 Were not fuperior to the artift I allude to, and whofe lofs we lament, in a certain routine 
 of practice, which, to the eyes of common obfervers, has the air of a learned compofition, 
 and bears a fort of fuperficial refemblance to the manner of the great men who went 
 before them. I know this perfectly well ; but I know likewife, that a man, looking for 
 real and lafting reputation, muft unlearn much of the common-place method fo obfervable 
 in the works of the artifts whom I have named. For my own part, I confefs, I take 
 more intereft in, and am more captivated with, the powerful impreffion of nature, which 
 Gainfborough exhibited in his portraits and in his landfcapes, and the interefting fimplicity 
 and elegance of his little ordinary beggar-children, than with any of the works of that 
 School, fince the time of Andrea Sacchi, or perhaps we may fay Carlo Maratti ; two 
 painters who may truly be faid to be Ultimi Romanorum. 
 
 " I am well aware how much I lay myfelf open to the cenfure and ridicule of the 
 academical profeflbrs of other nations, in preferring the humble attempts of Gainfborough 
 to the works of thofe regular graduates in the great hiftorical ftyle. But we have the 
 fancrron of all mankind in preferring genius in a lower rank of art, to feeblenefs and 
 infipidity in the higheft. 
 
 " It would not be to the prefent purpofe, even if I had the means and materials, which 
 I have not, to enter into the private life of Mr. Gainfborough. The hiftory of his gradual 
 advancement, and the means by which he acquired fuch excellence in his art, would 
 come nearer to our purpofe and wifhes, if it were by any means attainable ; but the flow 
 progrefs of advancement is in general imperceptible to the man himfelf who makes it; it 
 is the confequence of an accumulation of various ideas which his mind has received, he 
 does not perhaps know how or when. Sometimes indeed it happens, that he may be 
 able to mark the time when, from the fight of a picture, a paffage in an author, or a hint 
 in converfation, he*has received, as it were, fome new and guiding light, fomething like 
 infpiration, by which his mind has been expanded ; and is morally fure that his whole life 
 and conduct has been affected by that accidental circumftance. Such interefting accounts 
 we may however fometimes obtain from a man who has acquired an uncommon habit of 
 felf-examination, and has attended to the progrefs of his own improvement. 
 
 " It may not be improper to make mention of fome of the-xuftoms and habits of this 
 extraordinary man ; points which come more within the reach of an obferver j I however 
 mean fuch only as are connected with his art, and indeed were, as I apprehend, the caufes 
 of his arriving to that high degree of excellence, which we fee and acknowledge in his 
 works. Of thefe caufes we muft ftate, as the fundamental, the love which he had to his 
 
 5 G artj 
 
G.A.I [ 786 r G-Aa 
 
 art; to which indeed his whole mind appears to have been devoted,, and to which every 
 thing was referred j and this we may fairly conclude from various circumftances of his life; 
 which were known to his intimate friends. Among others he had a habit of continually 
 remarking to thofe who happened to be about him, whatever peculiarity of countenance* 
 whatever accidental .'combination of figures, or happy effects of light and fliadow, oc- 
 curred in profpects, in the iky, in walking the ftreets, or in company. If, in his walks* 
 he found a character that he liked, and whofe attendance was to be obtained, he ordered 
 him to his houfe : and from the fields he brought into his painting-room, ftumps of trees-, 
 weeds, and animals of various kinds ; and defigned them, not from memory, but imme- 
 diately from the objects. He even framed a kind of model of landfcapes, on his table; 
 compofed of broken {tones, dried herbs, and pieces of looking glafs, which he magnified 
 and improved into rocks, trees, and water. How far this latter practice may be ufeful 
 in giving hints, the profefTors of landfcape can beft determine. Like every -otter technical . 
 practice it feems to me wholly to depend on the general talent of him who ufes it. Suck 
 methods may be nothing better than contemptible and mifchievous trifling ; or they may 
 be aids. I think upon the whole, unlefs we conftantly refer to real nature, that practice 
 may be more likely to do harm than good. . I mention it only, as it mews the folicitude 
 and extreme activity which he. had about every thing that related to his art; that he wiihed 
 to have his objects embodied as it were, and diftinctly before him ; that he neglected 
 nothing which could keep his faculties in exercife, and derived hints from every fort of 
 combination. • 
 
 " We muft not forget whilft we are on this fubject, to make fome remarks on his cuftom 
 of painting by night, which confirms what I have already mentioned, his great affection 
 to his art; fince he could not amufe himfelf in the evenings by any other means fo agree- 
 able to himfelf. I am indeed much inclined to believe, that it is a practice very advan- 
 tageous and improving to an artift ; for by this means he will acquire a new and a higher 
 perception of what is great and beautiful in Nature. By candle-light, not only objects 
 appear more beautiful, but from their being in a greater breadth of light and fhadow, as 
 well as having a greater breadth and uniformity of colour, nature appears in a« higher 
 ftyle ; and even the flefh feems to take a higher and richer tone of colour. Judgment 
 is to direct us in the ufe to be made of this method of ftudy; butthe method itfelf is, 
 I am very fure, advantageous. I have often imagined that the two great colourifts, Titian 
 and Correggio, though I do net know that they painted by night, formed their high ideas 
 of colouring from the effects of objects by. this artificial light: but I am more afTured, 
 that whoever attentively ftudies the firft and beft manner of Guercino, will be convinced 
 that he either painted by this light, or formed his manner on this conception. 
 
 a Another practice Gainfoorough had, which is worth mentioning, as it is certainly worthy 
 of imitation ; I mean his manner of forming all the parts of his picture together ; the 
 whole going on at the fame time, in the fame manner as Nature creates her works. Though 
 this method is not uncommon to thofe who have been regularly educated, yet probably it 
 
 was 
 
G A I [ 787 ] G A I 
 
 was fuggefted to him by his own natural fagacity. That this cuftcm is not univerfal, 
 appears from the practice of a painter whom I have juft mentioned, Pompeio Battoni, who 
 finifhed his hiftorical pictures part after part; and in his portraits completely finiflied one 
 feature before he proceeded to another. The confequence was, as might be expelled ; 
 the countenance was never well exprefTed; and, as the -painters fay, the whole was not 
 well put together. 
 
 " The firft thing required to excel in our art, or I believe in any art, is, not only a love for 
 it, but even an enthufiaftic ambition to excel in it. This never fails of fuccefs propor- 
 tioned to the natural abilities with which the artift has been endowed by Providence. Of 
 Gainiborough we certainly know, that his paflion was not the acquirement of iches, but 
 excellence in his art; and to enjoy that honourable fame which is fure to attend it. That 
 he felt this ruling pajjion Jlrong in deaths I am myfelf a witnefs. A few days before he 
 died, he wrote me a letter, to exprefs his acknowledgments for the good opinion I enter- 
 tained of his abilities, and the manner in which (he had been informed) I always fpoke 
 of him ; and defired he might fee me, once more, before he died. ' I am aware how 
 flattering it is to myfelf to be thus connected with the dying teftimony which this excellent 
 painter bore to his art. But I cannot prevail on myfelf to fupprefs that I was not con- 
 nected with him by any habits of familiarity; if any little jealoufies had fubfifted between 
 us, they were forgotten, in thofe moments of fincerity ; and he turned towards me as one 
 who was engroffed by the fame purfuits, and who deferved his good opinion, by being 
 fenfible of his excellence. Without entering into a detail of what pafled at this laft 
 interview, the imprefiion of it upon my mind was, that his regret at lofing life, was 
 principally the regret of leaving his art ; and more efpecially as he now began, he faid, to 
 fee what his deficiencies were ; which, he faid, he flattered himfelf in his laft works were 
 in fome meafure fupplied. 
 
 " When fuch a man as Gainiborough arrives to great fame, without the afliftance of 
 an academical education, without travelling to Italy, or any of thofe preparatory ftudies 
 which have been fo often recommended, he is produced as an inftance, how little fuch 
 ftudies are neceflary ; fince fo great excellence may be acquired without them. This is 
 an inference not warranted by the fuccefs of any individual ; and I truft it will not be 
 thought that I wifh to make this ufe of it. 
 
 « It muft be remembered that the ftyle and department of art which Gainiborough 
 chofe, and in which he fo much excelled, did not require that he fliould go out of his own 
 country for the objects of his ftudy ; they were every where about him ; he found them 
 in the ftreets, and in the fields ; and from the models thus accidentally found, he felected 
 with great judgment fuch as fuited his purpofe. As his ftudies were directed to the living 
 world principally, he did not pay a general attention to the works of the various mafters, 
 though they are, in my opinion, always of great ufe, even when the character of our 
 fubject requires us to depart from fome of their principles. In cannot be denied, that 
 .excellence in the department of the art which he profefTed may exift without them ; that 
 
 5 G 2 m 
 
G A I 
 
 [ 788 I 
 
 G A I 
 
 in fuch fubjects, and in the manner that belongs to them, the want of them is fupplied,, 
 and more than fupplied, by natural fagacity, and a minute obfervation of particular nature. 
 If Gainfborough did not look at nature with a poet's eye, it muft be acknowledged that 
 he faw her with the eye of a painter j and gave a faithful, if not a poetical, representation 
 of what he had before him. 
 
 " Though he did not much attend to the works of the great hiftorical painters of former 
 ages, yet he was well aware, that the language of the art, the art of imitation, mult be learned 
 fomewhere; and as he knew that he could not learn it in an equal degree from his contem- 
 poraries, he very judicioufly applied himfelf to the Flemifh School, who are undoubtedly the 
 greateft mafters of one neceflary branch of art; and he did not need to go out of his own 
 country for examples of that fchool : from that he learnt the harmony of colouring, the manage- 
 ment and difpofition of light and fhadow, and every means which the mafters of it practifed, 
 to ornament and give fplendour to their works. And to fatisfy himfelf as well as others, 
 how well he knew the mechanifm and artifice which they employed to bring out that tone 
 of colour which we fo much admire in their works, he occafionally made copies from 
 Rubens, Teniers, and Vandyck, which it would be no difgrace to the moft accurate con- 
 noifTeur to miftake, at the firft fight, for the works of thofe mafters. What he thus learned, 
 he applied to the originals of nature, which he faw with his own eyes, and imitated^ 
 not in the manner of thofe mafters, but in his own. 
 
 " Whether he moft excelled in portraits, landfcapes, or fancy-pictures, it is difficult to 
 determine : whether his portraits were moft admirable for exact truth of refemblance, or 
 his landfcapes for a portrait-like reprefentation of nature, fuch as we fee in the works of 
 Rubens, Ryl'dale, and others of thofe Schools, In his fancy-pictures, when he had fixed 
 on his object of imitation, whether it was the mean and vulgar form of a wood-cutter, 
 or a child of an interefting character, as he did not attempt to raife the one, fo neither did 
 he lofe any of the natural grace and elegance of the other > fuch a grace, and fuch an 
 elegance, as are more frequently found in cottages than in courts. This excellence was 
 his own, the refult of his particular obfervation and tafte ; for this he was certainly not 
 indebted to the Flemifh School, nor indeed to any School ; for his grace was not acade- 
 mical, or antique, but felected by himfelf from the great fcrfool of nature; and there are 
 yet a thoufand modes of grace, which are neither theirs, nor his, but lie open in the 
 multiplied fcenes and figures of life, to be brought out by fkilful and faithful obfervers. 
 
 " Upon the whole, we may juftly fay, that whatever he attempted he carried to a high 
 degree of excellence. It is to the credit of his good fenfe and judgment that he never did 
 attempt that ftyle of hiftorical painting, for which his previous ftudies had .made no- 
 preparation. 
 
 " And here it naturally occurs to oppofe the fenfible conduct of Gainfborough in 
 this refpect, to that of our late excellent Hogarth, who, with all his extraordinary 
 talents, was not blefTed with this knowledge of his own deficiency, or of the bounds 
 which were fet to the extent of his own powers. After this admirable artift had 
 
 fpent 
 
G A I 
 
 [ 789 ] 
 
 G A I 
 
 fpent the greateft part of his life in an active, bufy, and we may add, fuccefsful 
 attention to the ridicule of life; after he had invented a new fpecies of dramatic 
 painting, in which probably he will never be equalled, and had ftored his mind with 
 infinite materials to explain and illuftrate the domeftic and familiar fcenes of common 
 life, which were generally, and ought to have been always, the fubject of his pencil; 
 he very imprudently, or rather prefumptuoufly, attempted the great hiftorical ftyle, 
 for which his previous habits had by no means prepared him: he was indeed fo en- 
 tirely unacquainted with the principles of this ftyle, that he was not even aware that 
 any artificial preparation was at all necefTary. It is to be regretted, that any part of the 
 life of fuch a genius fliould be fruitiefsly employed. Let his failure* teach us not to indulge 
 ourfelves in the vain imagination, that by a momentary refolution we can give eicher 
 dexterity to the hand, or a new habit to the mind. 
 
 " I have, however, little doubt, but that the fame fagacity, which enabled thofe two 
 extraordinary men to difcover their true object, and the peculiar excellence of that branch 
 of art which they cultivated, would have been equally effectual in difcovering the prin- 
 ciples of the higher ftyle, if they had inveftigated thofe principles with the fame eager 
 induftry which they exerted in their own department. As Gainiborough never attempted 
 the heroic ftyle, fo neither did he deftroy the character and uniformity of his own ftyle, 
 by the idle affectation of introducing mythological learning in any of his pictures. Of this 
 boyifh folly we fee inftances enough, even in the works of great painters. When the 
 Dutch School attempt this poetry of our art in their landfcapes, their performances are 
 beneath criticifm; they become only an object of laughter. This practice is hardly 
 excufable, even in Claude Lorrain, who had fhewn more difcretion, if he had never 
 meddled with fuch fubjects. 
 
 « The peculiarity of his manner, or ftyle, or we may call it — the language in which 
 he exprefled his ideas, has been confidered by many as his greateft defect. But without 
 altogether wifliing to enter into the difcuflion whether this peculiarity was a defect or 
 not, intermixed, as it was, with great beauties, of fome of which it was probably the 
 caufe, it becomes a proper fubject of criticifm and enquiry to a painter. 
 
 " A novelty and peculiarity of manner, as it is often a caufe of our approbation, fo 
 likewife it is often a ground of cenfure ; as being contrary to the practice of other 
 painters, in whofe manner we have been initiated, and in whofe favour we have perhaps 
 been prepoffeffed from our infancy ; for, fond as we are of novelty, we are upon the 
 whole creatures of habit. However, it is certain, that all thofe odd fcratches and marks 
 which, on a clofe examination, are fo obfervable in Gainfborough's pictures, and which 
 even to experienced painters appear rather the effect of accident than defign — this chaos, 
 this uncouth and ftiapelefs appearance, by a kind of magic, at a certain diftance affumes 
 form, and all the parts feem to drop into their proper places ; fo that we can hardly 
 refufe acknowledging the full effect of diligence, under the appearance of chance and 
 hafty negligence. That Gainiborough himfelf confidered this peculiarity in his manner 
 
G "A 1 [ 790 ] G A I 
 
 and the power it poflefles of exciting furprife, as a beauty in his works, I think may be 
 inferred from the eager defire which we know he always exprefled, that his pictures, at 
 the exhibition, fliould be feen near, as well as at a diftance. 
 
 " The flightnefs which we fee in his beft works, cannot always be imputed to negligence. 
 However they may appear to fupet facial obfervers, painters know very well that a fteady 
 attention to the general effect, takes up more time, and is much more laborious to the 
 mind, than any mode of high finifliing or fmoothnefs, without fuch attention. His hand- 
 ling, the manner of leaving the colours, or in other words, the methods he ufed for pro- 
 ducing the effect, had very much the appearance of the work of an artift who had never 
 learned from others the ufual and regular practice belonging to the art; but ftill, like a 
 man of ftrong intuitive perception of what was required, he found out a way of his own 
 to accomplifti his purpofe. 
 
 " It is no difgrace to the genius of Gainfborough, to compare him to fuch men as we 
 fometimes meet with, whofe natural eloquence appears even in fpeaking a language 
 which they can fcarce be faid to underftand; and who, without knowing the appropriate 
 exprellion of almoft any one idea, contrive to communicate the lively and forcible impref- 
 ftons of an energetic mind. 
 
 " I think fome apology may reafonably be made for his manner, without violating truth, 
 or running any rifle of poifoning the minds of the younger ftudents, by propagating falfe 
 criticifm, for the fake of raifing the character of a favourite artift. It muft be allowed, 
 that this hatching manner of Gainfborough did very much contribute to the lightnefs of 
 effect which is fo eminent a beauty in his pictures ; as, on the contrary, much fmoothnefs, 
 and uniting the colours, is apt to produce heavinefs. Every artift muft have remarked, 
 how often that lightnefs of hand which was in his dead-colour, or firft painting, efcaped 
 in.the finifliing, when he had determined the parts with more precifion; and another lofs 
 he. often experiences, which is of greater confequence; whilft he is employed in the detail, 
 the effect of the whole together is either forgotten or neglected. The likenefsof a por- 
 trait, as. I have, formerly obferved, conflfts more in preferving the general effect of the 
 countenance, than in the moft minute finifliing of the features, or any of the particular 
 parts. Now Gainiborough's portraits were often little more, in regard to finifliing, or 
 determining the form of the features, than what generally attends a dead colour ; but as 
 he was always attentive to the general effect, or whole together, I have often imagined 
 that this unfiniftied manner contributed jeven to that ftriking refemblance for which his 
 portraits are fo remarkable. Though this opinion may be confidered as fanciful, yet I 
 think a plaufible reafon may be given, why fuch a mode of painting fliould have fuch an 
 effect- It is prefuppofed that in this undetermined manner there is the general effect, 
 enough to remind the fpectator of the original ; the imagination fupplies the reft, and 
 perhaps more fatisfactorjly to himfeif, if not more exactly, than the artift, with all his 
 Qare, could poflibly have done. At the fame time it muft be acknowledged there is one 
 evil attending this modes that if the portrait was feen, previous to any knowledge of the 
 
 original, 
 
GAT 
 
 r w j 
 
 HAY 
 
 original, different perfons would form different ideas, and all would be difappointed at 
 not finding the original correfpond with their own conceptions, under the great latitude 
 which indiftinctnefs gives to the imagination, to afTume almoft what character or form k 
 pleafes. 
 
 " Every artift has fome favourite part on which he fixes his attention, and which he 
 purfues with fuch eagernefs, that it ablbrbs every other confideration ; and he often falls 
 into the oppofite error of that which he would avoid, which is always ready to receive 
 him. Now Gainfborough having truly a painter's eye for colouring, cultivated thofe 
 effects of the art which proceed from colours ; and fometimes appears to be indifferent to 
 or to neglect other excellencies. Whatever defects are acknowledged, let him ftill expe- 
 rience from us the fame candour that we fo freely give upon fimilar occafions to the ancient 
 mafters; let us not encourage that faftidious dilpofition, which is difcontented with every 
 thing fhort of perfection, and unreafonably require, as we fometimes do, a union of 
 excellencies, not perhaps quite compatible with each other. — We may, on this ground-, 
 fay even of the divine Raffaelle, that he might have finifhed his picture as highly and as 
 correctly as was his cuftom, without heavinefs of manner; and that Poumn might have 
 preferved all his preciiion without hardnefs or drynefs< 
 
 " To mew the difficulty of uniting folidity with lightnefs ofmanner, we may 
 produce a picture of Rubens in the church of St. Judule, at Brufiels, as an example; the 
 fubject is, ChrijVs charge to Peter; which, as it is the higheftand fmootheft-finifhed picture 
 I remember to have feen of that mafter, fo it is by far the heavieft ; and if I had found it 
 in any other place, I fhould have fufpected it to be a copy ; for painters know very well, 
 that it is principally by this air of facility, or the want of it, that originals are diftinguilhed 
 from copies. — A lightnefs of effect, produced by colour, and that produced by facility of- 
 handling, are generally united ; a copy may preferve fomething of the one, it is true, 
 but hardly ever of the other; a connoiifeur therefore finds it often neceffary to look 
 carefully into the picture before he determines on its originality. Gainfborough poffeffed 
 this quality of lightnefs of manner and effect, I think, to an unexampled degree of 
 excellence; but, it mud be acknowledged at the fame time, that the facrifice which he 
 made to this ornament of our art, was too great; it was,- in reality, preferring the lelfer 
 excellencies to the greater." 
 
 Francis H A Y M A Nv 
 Painted Figures. 
 
 DIED I776, AGED 68. 
 
 This artift, who was a native of Devonfhire, and/cholar of Brown, owed his reputation 
 to the pictures he painted for Vauxhall, which recommended him to much practice in 
 giving deligns for prints to books, in which he fometimes fucceeded well, though a ftrong 
 tnannerift; and eafiLy diftinguifhable by the large nofes and fhambling legs of. his 
 
 5 figures. 
 
H I G 
 
 C 79* ] 
 
 HOG 
 
 figures. In his pictures his colouring was raw, nor in any light did he attain 
 excellence. He was a rough man, with good natural parts, and a humoujrift — a character 
 often tailed by cotemporaries, but which feldom afiimilates with or forgives the rifing 
 generation. 
 
 Joseph HIGH MO R E, 
 Painted Portrait. 
 
 DIED I780, AGED 88. 
 
 He was the nephew of Serjeant Highmore, and was bred a lawyer, but quitted that 
 profeffion for painting, which he exercifed with reputation amongft the fucceffors of 
 Kneller, under whom he entered into the Academy ; and, living at firft in the city, was 
 much employed there for family pieces. He afterwards removed to Lincoln's-Inn-Fields, 
 and painted the portraits of the Knights of the Bath, on the revival of that Order, for the 
 feries of plates which he firft projected, and which were engraved by Pine. Hepublifhed 
 two pamphlets ; one called, A critical Examination of the Cieling painted by Rubens 
 in the Banquetting Houfe, in which architecture is introduced, as far as relates to per- 
 fpectivej together with the difcuffion of a queftion, which has been the fubject of debate 
 among painters : the other, The Practice of Perfpective, on the Principles of Dr. Brook 
 Taylor, &c. 
 
 William HOGARTH. 
 
 Painted Portrait and Xloinic Scenes* 
 
 DIED I764, AGED 66. 
 
 This truly great and original genius in painting and engraving was born 1698, in the 
 parifh of St. Bartholomew, and bound apprentice to Mr. Ellis Gamble, a filverfmith 
 of eminence in Cranbourn-ftreet, Leicefter-Fields. In this profeffion it is not unufual 
 to bind apprentices to the fingle branch of engraving arms and cyphers on every fpecies 
 of metal ; and in that particular department young Hogarth was placed. He began bufinefs 
 on his own account about 1720; and his firft employment feems to have been the engraving 
 of arms and fhop-bills. The next ftep was to defign and furnifh plates for bookfellers j 
 of which thofe now beft known are feventeen, for a duodecimo edition of " Hudibras" 
 (with Butler's head) in 1746. The firft piece in which he diftinguifhed himfelf as a 
 painter, was a reprefentation of Wanftead Affembly, the portraits from life, without bur- 
 lefque, and the colouring rather better than fome of his later and more highly-finifhed 
 performances. It was Hogarth's cuftom to fketch out on the fpot any remarkable face 
 which particularly ftruck him, and of which he wifhed to preferve the remembrance; and 
 this he frequently did with a pencil on his nail. — In 1730 Mr. Hogarth married the only 
 daughter of Sir James Thornhillj and foon after, having fummer lodgings at South Lam- 
 beth, 
 
H O G f 793 ] HOG 
 
 heth; and being intimate! With Mr. Tyers, he contributed to the improvement' of the 
 Spring Gardens at Vauxhall, by the hint of embellifhing them with paintings, fome of 
 which were the fuggeftions of his own truly comic pencil. — In 1733 his genius became 
 confpicuoufly known. His " Harlot's Progrefs" introduced him to the notice of the great r 
 and Hogarth rofe completely into fame.— -Soon after the peace of Aix-la-Chapelle he went 
 over to France, and was taken into cuftody at Calais while he was drawing the gate of 
 that town; acircumftance which he has recorded in his picture intitled " O the Roaft Beef 
 of Old England !" publifhed 1749. He was actually carried before the governor as a fpy, 
 and, after a very ftrict examination, committed a prifoner to Granfire, his landlord, on his 
 promifing that Hogarth fliould not go out of his houfe till he was to embark for England. 
 In 1753 he appeared to the world in the character of an author, and publifhed a quarto 
 volume, intitled " The Analyfis of Beauty, written with a View of fixing the fluctuating: 
 Ideas of Tafte." In this performance he mews, by a variety of examples, that a curve 
 is the line of beauty, and that round fwelling figures are moft pleafing to the eye ; and 
 the truth of his opinion has been countenanced by fubfequent writers on the fubjedt. In 
 the diction of this work he was affifted by Dr. Benjamin Hoadley the phyfician, who carried 
 it on to about the third part, Chap. IX. and then, through indifpofition, declined the 
 friendly office with regret. Mr. Hogarth afterwards applied to his neighbour, Mr. Ralph, 
 who, however, proceeded no further than about a meet ; and the kind office of finifliing 
 the work, and fuperintending the publication, was laftly taken up by Dr. Morell, who 
 went through the remainder of the book. Hogarth had one failing in common with moft 
 people who attain wealth and eminence without the aid of liberal education : he affected 
 to defpife every kind of knowledge which he did not pofTefs. Having eftablifhed his fame 
 with little or no obligation to literature, he either conceived it to be needlefs, or decried it 
 becaufe it lay out of his reach. In " Beer-ftreet," among other volumes configned by him 
 •to the paftry-cook, we find Turnbull " on Ancient Painting," a treatife which Hogarth 
 mould have been able to underftand before he ventured to condemn. No man, however, was 
 more ductile to flattery: a word in favour of " Sigifmunda" might have commanded a proof 
 print, or forced an original fketch out of our artift's hands. — Being once at dinner with the 
 great Chefelden and fome other company, he was told that Mr. John Freke, furgeon of 
 St. Bartholomew's Hofpital, a few evenings before, at Dick's Coffee-houfe, had afTerted 
 that Greene was as eminent in compofition as Handel. <c That fellow, Frekc, (replied 
 Hogarth) is always mooting his bolt abfurdly one way or another ! Handel is a giant in 
 snufic; Greene only a light Florimel kind of a compofer." * Ay (fays our artift's 
 informant), but at the fame time Mr. Freke declared you were as good a portrait-painter 
 as Vandyck." u There he was in the right (adds Hogarth): and fo by G — I am, 
 give me my time, and let me choofe my fubject!' , Hogarth was alfo the moft abfent 
 of men ; to one inftance of which we muft limit our relation. Soon after he fet up his 
 carriage he had occafion to pay a vifit to the lord-mayor (Mr. Beckford). When he went, 
 the weather was finei but bufmefs detained him till a violent ihower of rain came on. 
 
 5 H He 
 
II O G 
 
 [ 794 J 
 
 HOG 
 
 He was let out of the Manfion-houfe by a different door from that at which he entered j 
 and, feeing the rain, began immediately to call for a hackney coach. Not one was to. be 
 met with on any of the neighbouring ftands; and our artiit fallicd forth to brave the 
 florin, and actually reached Leicefter Fields without bellowing a thought on his own 
 carriage, till Mrs. Hogarth (furprifed to fee him fo wet and. lplafhed) aflced him where 
 he had left it. — The laft memorable event of our artift's life was his quarrel with 
 Mr. Wilkes j in which, if Mr. Hogarth did not commence direct hoftiiities, he at leaft 
 obliquely gave the firft offence, by an attack on the friends and party of that gentleman* 
 Mr. Churchill the poet foon after publilhed the " Epiftle to William Hogarth," and took 
 for the motto ut piclura for/is. Mr. Hogarth's revenge againft the poet terminated in 
 ■ vamping up an old print of a pug dog and a bear, which he publilhed under the title of 
 " The Bruifer, C. Churchill, (once the Reverend ! ) in the character of a Ruffian Hercules," 
 &c. — At the time thefe hoftilities were carrying on, in a manner fo virulent and difgraceful 
 to all the parties, Hogarth died. 
 
 The following character of Hogarth, from the elegant pen of the late Lord OrtoRD > 
 is a valuable addition to the account of his life. 
 
 " Having difpatched the herd of our painters in oil, I referved to a clafs by himfelf that 
 great and original genius, Hogarth; confidering him rather as a writer of comedy with 
 a pencil, than as a painter. If catching the manners and follies of an age living as they 
 ?~ife, if general fatire on vices and ridicules, familiarifed by ftrokes of nature, and height- 
 ened by wit, and the whole animated by proper and juft expreffions of the paflions, be 
 comedy, Hogarth compofed comedies as much as Moliere : in his Marriage A-la-mode there 
 is even an intrigue carried on throughout the piece. He is more true to character than 
 Congreve ; each perfonage is diftinct from the reft, acts in his fphere, and cannot be con- 
 founded with any other of the dramatis perfonae. The alderman's footboy, in the laff. 
 print of the fet I have mentioned, is an ignorant ruftic; and if wit is ftruck out from the 
 characters in which it is not expected, it is from their acting conformably to their fituation, 
 and from the mode of their paflions, not from their having the wit of fine gentlemen. 
 Thus there is wit in the figure of the alderman, who, when his daughter is expiring in 
 the agonies of poifon, wears a face of folicitude, but it is to fave her gold ring, which he 
 is drawing gently from her finger. The thought is parallel to Moliere's, where the mifer 
 puts out one of the candles as he is talking. Moliere, inimitable as he has proved, brought 
 a rude theatre to perfection. Hogarth had no model to follow and improve upon. He 
 created his art; and ufed colours inftead of language. His place is between the Italians,, 
 whom we may confider as epic poets and tragedians, and the Flemifh painters, who are as 
 Writers of farce and editors of burlefque nature. They are the Tom Browns of the mob.. 
 Hogarth refembles Butler, but his fubjects are more univerfal; and amidft all his plcafantry,, 
 
 he- 
 
HOG 
 
 t 795 1 
 
 HOG 
 
 he obferves the true end of comedy, reformation ; there is always a moral to his pictures. 
 Sometimes he rofe to tragedy, not in the cataftrophe of kings and heroes, but in marking 
 how vice conducts, infenfibly and incidentally, to mifery and fhame. He warns againft 
 encouraging cruelty and idlenefs in young minds, and difcerns how the different vices of 
 the great and the vulgar lead by various paths to the fame unhappinefs. The fine lady in 
 Marriage A-la-mode, and Tom Nero in the Four Stages of Cruelty, terminate their ftory in 
 blood — fhe occafions the murder of her hufband; he aflaffinates his miftrefs. How delicate 
 and fuperior too is his fatire, when he intimates in the College of Phyficians and Surgeons 
 that prefide at a diffection, how the legal habitude of viewing mocking fcenes hardens 
 the human mind, and renders it unfeeling. The prefident maintains the dignity of infen- 
 fibility over an executed corpfe, and confiders it but as the object of a lecture. In the 
 print of the Sleeping Judges, this habitual indifference only excites our laughter. 
 
 " It is to Hogarth's honour that, in fo many fcenes of fatire or ridicule, it is obvious 
 that ill-nature did not guide his pencil. His end is always reformation, and his reproofs 
 general. Except in the print of the Times, and the two portraits of Mr. Wilkes and 
 Mr. Churchill* that followed, no man, amidft fuch a profufton of characteriftic faces, ever 
 pretended to difcover or charge him with the caricatura of a real perfon j except of fuch 
 notorious characters as Chartres and mother Needham, and a very few more, who are 
 acting officially and fuitably to their profeffions. As he mult have obferved fo carefully 
 the operation of the paflions on the countenance, it is even wonderful that he never, 
 though without intention, delivered the very features of any identical perfon. It is at 
 the fame time a proof of his intimate intuition into nature : but had he been too fevere, 
 the humanity of endeavouring to root out cruelty to animals would atone for many fatires. 
 It is another proof that he drew all his ftores from nature and the force of his own genius, 
 and was indebted neither to models nor books for his ftyle, thoughts or hints, that he 
 never fucceeded when he defigned for the works of other men. I do not fpeak of his 
 early performances at the time that he was engaged by bookfellers, and rofe not above 
 thofe they generally employ ; but in his maturer age, when he had invented his art, and 
 gave a few defigns for fome great authors, as Cervantes, Gulliver, and even Hudibras, his 
 compofitions were tame, fpiritlefs, void of humour, and never reach the merits of the books 
 they were defigned to illuftrate. He could not bend his talents to think after any body 
 elfe. He could think like a great genius rather than after one. I have a fketch in oil 
 that he gave me, which he intended to engrave: it was done at the time that the Houfe ; 
 of Commons appointed a committee to enquire into the cruelties exercifed on prifoners in 
 the Fleet to extort money from them. The fcene is the committee ; on the table are the 
 instruments of torture. A prifoner in rags, half ftarved, appears before them ; the poor 
 man has a good countenance, that adds to the intereft. On the other hand is the inhuman 
 gaoler. It is the very figure that Salvator Rofa would have drawn for Iago in the 
 moment of detection. Villany, fear, and confeience, are mixed in yellow and livid on his 
 countenance} his lips are contracted by tremor, Jiis face advances as eager to lie, his legs 
 
 5 H 2 ftep 
 
H O G 
 
 r 796 j 
 
 HOG 
 
 fkp back as thinking to make his efcape; one hand is thrufl precipitately into his bofom, 
 the fingers of the other are catching uncertainly at his button-holes. If this was a por* 
 trait,* it is the mod fpeaking that ever was drawn > if it was not, it is ftill finer. 
 
 w It is feldom that his figures do not exprefs the character he intended to give them. 
 When they wanted an illuftration that colours could not beftow, collateral circumftances r 
 full of wit, fupply notes. The nobleman in Marriage A-larmode has a great air — the 
 coronet on his crutches, and his pedigree ifluing out of the bowels of William the Con- 
 queror, add to his character. In the Breakfaft the old fteward refledts for the fpectator. 
 Sometimes a fhort label is an epigram, and is never introduced without improving, the 
 fubject. Unfortunately fome circumftances, that were temporary, will be loft to pofterity, 
 the fate of all comic authors ; and if ever an author wanted a commentary, that none of 
 his beauties might be loft, it is Hogarth — not from being obfcure (for he never was 
 that but in two or three of his firft prints, where tranfient national follies, as lotteries, 
 free-mafonry, and the South-fea, were his topics), but for the ufe of foreigners, and from 
 a multiplicity of little incidents, not efTential to, but always heightening*, the principal 
 action. Such is the fpider's-web extended over the poor's box in a parifh-church ; the 
 blunders in architecture in the nobleman*s feat feen through the window, in the firft print, 
 of Marriage A-la-mode ; and a thoufand in the Strollers drefling in a Barn, which for wit 
 and imagination, without any other end, I think the beft of all his works l as for ufeful 
 and deep fatire, that on the Methodifts is the moft fublime. The fcenes of Bedlam and 
 the Gaming-houfe are inimitable reprefentations of our ferious follies or unavoidable 
 woes j and the concern fhown by the lord-mayor, when the companion of his childhood 
 is brought before him as a criminal, is a touching picture, and big with humane admo- 
 nition and reflection. 
 
 " Another inftanceof this author's genius is his not condefcending to explain his moral . 
 leflbns by the trite poverty of allegory. If he had an emblematic thought, he exprefled 
 it with wit, rather than by a fymbol. Such is that of the whore fetting fire to the world 
 in the Rake's Progrefs. Once indeed he defcended to ufe an allegoric perfonage, and was . 
 not happy in it: in one of his election prints Britannia's chariot breaks down, while the 
 coachman and footman are playing at cards on the box. ^Sometimes too, to pleafe his 
 vulgar cuftomers, he ftooped to low images and national fatire, as in the two prints of 
 France and England, and that of the Gates of Calais. The laft indeed has great merit, 
 though the caricatura is carried to excefs. In all thefe the painter's purpofe was to make 
 his countrymen obferve the eafe and affluence of a free government, oppofed to the wants 
 and woes of flaves. In Beer-ftreet the Englifh butcher tofling a Frenchman in the air 
 with one hand, is abfolute hyperbole ; and what is worfe, was an afterthought, not being 
 in the firft edition. The Gin-alley is much fuperior, horridly fine, but difgufting. 
 
 u His Bartholomew-fair is full of humour; the March to Finchle'y, of nature: the 
 Enraged Mufician tends to farce. The Four Parts of the Day, except the laft, are inferior 
 
 to 
 
 f It was the portrait of Bambridge, the Warden of the Fleet-prifon, 
 
HOG 
 
 [ 797 3 
 
 HOG 
 
 to few of his works* The Sleeping Congregation, the Lecture on the Vacuum, the 
 Laughing Audience, the Confultation of Phyficians as a coat of arms, and the Cockpit, 
 are perfect in their feveral kinds. The prints of Induftry and Idlenefs have more merit 
 in the intention than execution. 
 
 " Towards his latter end he now and then repeated himfelf, but feldomer than moll 
 great authors who executed fo much. 
 
 " It may appear fingular, that of an author whom I call comic, and who is fo cele- 
 brated for his humour, I mould fpeak in general in fo ferious a ftyle; but it would be 
 fupprefling the merits of his heart to confider him only as a promoter of laughter. I 
 think I. have mown that'his views were more generous and extenfive. Mirth coloured 
 his pictures, but benevolence defigned them. He fmiled like Socrates, that men might 
 not be offended at his lectures, and might learn to laugh at their own follies. When his 
 topics were harmlefs, all his touches were marked with pleafantry and fun. He never, 
 laughed, like Rabelais, at nonfenfe that he impofed for wit; but, like Swift, combined i 
 incidents that divert one from their unexpected encounter, and illuftrate the tale he means 
 to tell.- Such are the hens roofting on the upright waves in the fcene of the Strollers, 
 and the. devils drinking porter on the altar. The manners or cojlume are more than 
 obferved in every one of his works. The very furniture of his rooms defcribe the cha- 
 racters of the perfons to whom they belong ; a leflbn that might be of ufe to comic authors. • 
 It was referved to Hogarth to write a fcene of furniture. The rake's levee-room, the 
 nobleman's dining-room, the apartments of the hulband and wife in Marriage A-la-mode, . 
 the alderman's parlour, the poet's- bedchamber, and many others, are the hiftory of the 
 manners of the age. 
 
 <« But perhaps too much has been faid of this great genius as an author; it is time 
 to fpeak of him as a painter, and to mention the circumftances of his life, in both 
 which I mail be more brief. His works are his hiftory ; as a painter, he had but flender. 
 merit. 
 
 " His apprenticefhip was no fooner expired, than he entered into the academy in 
 St. Martin's lane, and ftudied drawing from the life, in which he never attained to great 
 excellence. It was character, the paffions, the foul, that his genius was given him to 
 copy. In colouring he proved no greater a mafter : his force lay in expreflion, not in 
 tints and chiaro-fcuro. At firft he worked for bookfellers, and defigned and engraved 
 plates for feveral books ; and, which is extraordinary, no fymptom of genius dawned in 
 thofe plates. His Hudibras was the firft of his works that marked him as a man above 
 the common ; yet what made him then noticed, now furprifes us to find fo little humour in 
 an undertaking fo congenial to his talents. On the fuccefs however of thofe plates he com- 
 menced painter, a painter of portraits; the moft ill-fuited employment imaginable to a man 
 whofe turn certainly was not flattery, nor his talent adapted to look on vanity without a fneer. 
 Yet his facility in catching a likenefs, and the method he chofe of painting families and 
 conventions in fmall, then a novelty, drew him prodigious bufinefs for fome time. It 
 5 did 
 
HOG 
 
 T 798 J 
 
 HOG 
 
 did not laft, either from his applying to the real bent of his difpofition, or from his 
 cuftomers apprehending that a fatirift was too formidable a confeflbr for the devotees 
 of felf-love. He had already dropped a few of his fmaller prints on fome reigning 
 follies; but, as the dates are wanting on molt of them, I cannot afcertain which, though 
 thofe on the South-fea and Rabbit-woman prove that he had early difcovered his talent 
 for ridicule, though he did not then think of building his reputation or fortune on its 
 powers. 
 
 " His Midnight Modern Converfation was the firft work that mowed his command of 
 character : but it was the Harlot's Progrefs, publifhed in 1729 or 1730, that eftablifhed 
 his fame. The pictures were fcarce finifhed, and no fooner exhibited to the public, and 
 the fubfcription opened, than above twelve hundred names were entered on his book. 
 The familiarity of the fubjecT:, and the propriety of the execution, made it tatted by all 
 ranks of people. Every engraver fet himfelf to copy it, and thoufands of imitations 
 were difperfed all over the kingdom. It was made into a pantomime, and performed on 
 the ftage. The Rake's Progrefs, perhaps fuperior, had not fo much fuccefs, from want 
 of novelty ; nor indeed is the print of the Arreft equal in merit to the others. 
 
 " The curtain was now drawn afide, and his genius flood difplayed in its full luftre. 
 From time to time he continued to give thofe works that mould be immortal, if the 
 nature of his art will allow it. Even the receipts for his fubfcriptions had wit in them. 
 Many of his plates he engraved himfelf, and often expunged faces etched by his affiftants 
 when they had not done juftice to his ideas; 
 
 " Not content with Alining in a path untrodden before, he was ambitious of diflinguifli- 
 ing himfelf as a painter of his hiftory. But not only his colouring and drawing ren- 
 dered him unequal to the taflc; the genius that had entered fo feelingly into the cala- 
 mities and crimes of familiar life, deferted him, in a walk that called for dignity and grace. 
 The burlefque turn of his mind mixed itfelf with the moft ferious fubjects. In his 
 Danae the old nurfe tries a coin of the golden mower with her teeth, to fee if it is true 
 gold : in the Pool of Bethefda, a fervant of a rich ulcerated lady beats back a poor man 
 that fought the fame celeftial remedy. Both circumftances are juftly thought, but rather 
 too ludicrous. It is a much more capital fault that Danae herfelf is a mere nymph of 
 Drury. He feems to have conceived no higher idea of beauty. 
 
 « So little had he eyes to his own deficiencies, that he believed he had difcovered the 
 principle of grace. With the enthufiafm of a difcoverer, he cried, Eureka ! This was his 
 famous line of beauty, the ground-work of his Analyfis, a book that has many fenfiMe 
 hints and obfervations, but that did not carry -the conviction, nor meet the univerfal acqui- * 
 efcence he expected. As he treated his cotemporaries with fcorn, they triumphed over 
 this publication, and imitated him to expofe him. Many wretched burlefque prints came 
 out to ridicule his fyftem. There was a better anfwer to it in one of the two prints ttett 
 he gave to illuftrate his hypothefis. In the Ball, had he confined himfelf to fuch outlires 
 fiscompofe awkwardnefs and deformity, he would have proved half his affertion— but he 
 
HOG [ 799 ] HOG 
 
 has added two famples of grace, in a young lord and lady, that are ftrikingly (tiff and 
 affccteJ : they are a Bath Beau and a County Beauty. 
 
 " But this was the failing of a vifionary. He fell afterwards into a grorTer miftake. 
 From a contempt of the ignorant virtuofi of the age, and from indignation at the impu- 
 dent tricks of picture-dealers, whom he faw continually recommending and vending vile 
 copies to bubble-collectors, and from having never ftudied, indeed having feen, few good 
 pictures of the great Italian matters, he perfuaded himfelf that the praifes beftowed on 
 thofe glorious works were nothing but the effects of prejudice. He talked this language 
 till he believed it; and having heard it often afferted, as is true, that time gives a mellow*- 
 . nefs to colours and improves them, he not only denied the proportion, but maintained 
 that pictures only grew black and worfe by age, not diftinguiming between the degrees 
 in which the proportion might be true or falfe. He went farther: he determined to rival 
 the ancients — and, unfortunately, chofe one of the fineft pictures in England as the object 
 of his competition. This was the celebrated Sigifmonda of Sir Luke Schaub, now in 
 the poffemon of the Duke of Newcaftle, faid to be painted by Correggio, probably by 
 Furnio, but no matter by whom. It is impoffible to fee the picture, or read Dryden's 
 inimitable tale, and not feel that the fame foul animated both. After many effays, Hogarth 
 at laft produced his Sigifmonda — but no more like Sigifmonda, than I to Hercules. Not 
 to mention the wretchednefs of the colouring, it was the reprefentation of a maudlin 
 ftrumpet juft turned out of keeping, and with eyes red with rage and ufquebaugh* 
 tearing off the ornaments her keeper had given her. To add to the difguft raifed by fuch, 
 vulgar expreffion, her fingers were bloodied by her lover's heart that lay before her like 
 that of a fheep's for her dinner. None of the fober grief, no dignity of fuppreffed 
 anguifh, no involuntary tear, no fettled meditation on the fate fhe meant to meet, no 
 amorous warmth turned holy by defpair ;. in fhort, all was wanting that mould have been 
 there, all was there that fuch a ftory would have baniflied from a mind capable of con- 
 ceiving fuch complicated woej woe fo fternly felt, and yet fo tenderly. Hogarth's per- 
 formance was more ridiculous than any thing he had ever ridiculed. He fet the price 
 of 400I. on it, and had it returned on his hands by the perfon for whom it was 
 painted. He took fubferiptions for a plate of it, but had the fenfe at laft to fupprefs it. 
 I make no more apology for this acount than for the encomiums I have beftowed on him. 
 Both are dictated, by truth, and are the hiftory of a great man's excellencies and errors- 
 Milton, it is faid, preferred his Paradife Regained to his immortal poem* 
 
 " The laft memorable event of our artift's life was his quarrel with Mr. Wilkes,, in 
 which if Mr. Hogarth did not commence direct hoftilities on the latter, he at leaft 
 obliquely gave the firft offence, by an attack on the friends and party of that gentleman- 
 This conduct was the more furprifing, as he had all his life avoided dipping his pencil in 
 political contefts, and had early refufed a very lucrative offer that was made to engage 
 him in a fet of prints againft the head of a court-party. Without entering into the 
 
 merits. 
 
HOG 
 
 f lot J 
 
 --merits of the caufe, I fhall only ftate the fact. In September 1762 Mr. Hogarth 
 
 -publifhed his print of the Times. It was anfwered by Mr. Wilkes in a fevere North- 
 Briton. On this the painter exhibited the caricatura of the waiter. Mr. Churchill, 
 
 . the poet, then engaged in the war, and wrote his epiftle to Hogarth, not the brighteft 
 of his works, and in which the fevered ftrokes fell on a defect that the painter had 
 neither caufed nor could amend — his age; and which, however, was neither remarkable 
 nor decrepit; much lefs had it impaired his talents, as appeared by his having compofed 
 but fix months before one of his moft capital works, the fatire on the Methodifts. In 
 
 .revenge for this epiftle, Hogarth caricatured Churchill under the form of a canonical 
 bear, with a club and a pot of porter — et vituld tu dignus et hie— never did two angry 
 men of their abilities throw mud with lefs dexterity. 
 
 " He fold about twenty-four of his principal pictures by auction in 1745. Mr. Vincent 
 Bourne addrefled a copy of Latin hendecafyllables to him on his chief, pictures ; and 
 .Roquetti, the enameller, publifhed a French explanation, though a fuperficial one, of many 
 of his prints, which, it was faid, he had drawn up for the ufe of Marfhal Belleine* 
 then a^prifoner in England." 
 
 Thomas HUDS ON. 
 Painted Portrait. 
 
 DIED 1779) AGED 78. 
 
 This artiftwasthe fcholar and fon-in-lawof Richardfon, and enjoyed for many years the 
 chief bufinefs of portrait-painting in the capital, after the favourite artifts, his mafter and 
 Jervas, were gone ofFtheftage. Though Vanloo firft, and Liotard afterwards, for a few years 
 diverted the torrent of fafhion from the eftablifhed profeffor, ftill the country gentlemen 
 were faithful to their compatriot, and were content with his honeft fimilitudes, and with the 
 fair tied wigs, blue velvet coats, and white fatin waiftcoats, which he beftowed liberally 
 on his cuftomers, and which with complacence they beheld multiplied in Faber's mez- 
 .zotintos. The better tafte introduced by Sir Jofhua Reynolds put an end to Hudfon's 
 reign, who had the good fenfe to refign the throne foon after finifhing his capital work, 
 the family-piece of Charles Duke of Marlborough. He retired to a frnall villa he had 
 built at Twickenham, on a moft beautiful point of the river, and where he furnifhed the 
 beft rooms with a well-chofen collection of cabinet-pictures and drawings by great 
 mafters; having purchafed many of the latter from his father-in-law's capital collection. 
 Towards the end of his life he married to his fecond wife Mrs. Fiennes, a gentle- 
 woman with a good fortune, to whom he bequeathed his villa. 
 
 Charles 
 
j E R 
 
 f 8or J 
 
 K N A 
 
 Charles J E R V A S. 
 P aimed Portrait. 
 
 DIED I739. 
 
 This artift was born in Ireland, and for a year ftudied under Sir Godfrey Kneller. 
 Norris, frame-maker and keeper of the pictures to King William and Queen Anne, 
 was his firft patron, and permitted him to copy what he pleafedjn the Royal collection. 
 At Hampton-court he copied the Cartoons in little, and fold them to Dr. George Clarke, 
 of Oxford, who became his protector, and furnifhed him with money to vifit Paris and 
 Italy. At Rome he applied himfelf to learn to draw ; for, though thirty years old, he faicl 
 he had begun at the wrong end, and had only ftudied colouring. The friendihip of 
 Pope, and the patronage of other men of genius and rank, extended a reputation built 
 on fuch flight foundations: to which not a little contributed, we may fuppofe, the 
 Tatler, No. VIII. who calls him the loft great painter that Italy has fent us. To this 
 incenfe a widow, worth 20,oool. added the folid, and made him her hufband. In 1738 
 he again travelled to Italy for his health, but furvived that journey only a fhort time. 
 
 He was defective in drawing, colouring, and compofition, and even in that moft 
 neceflary, and perhaps moft eafy, talent of a portrait-painter, likenefs. In genera!, his 
 pictures are a light flimfy kind of fan-painting, as large as life. Yet a few of his 
 works are highly coloured ; and it is certain that his copies of Carlo Maratti, whom 
 moft he ftudied and imitated, were extremely juft, and fcarce inferior to the originals. It 
 is a well-known ftory of him, that having fucceeded happily in copying [he thought in 
 furpaffing] a picture of Titian, he looked firft at the one, then at the other, and, with 
 parental complacency cried, " Poor little Tit! how he would ftare !" 
 
 But what will recommend his name to pofterity, was his intimacy with Pope, whom 
 he inftrudted to draw and paint. 
 
 This painter is taken fo little notice of by Vertue, in his memorandums, that he 
 neither fpecifics his family, birth, or death. 
 
 George KNAPTON. 
 Painted in Crayons. 
 
 DIED I778, AGED 80. 
 
 This artift was the fcholar of Richardfon, but painted chiefly in crayons. Like his 
 mafter, he was well verfed in the theory of painting, and had a thorough knowledge of 
 the hands of the good mafters, and was concerned with Pond in his various publications. 
 In 1765 Knapton was painter to the fociety of Dilettanti, and, on the death of Slaughter, 
 was appointed furveyor and keeper of the King's pictures. He died af Kenfington, where 
 he was buried. 
 
 5 I -Lours 
 
LAG 
 
 r 802 j 
 
 LAG 
 
 Louis LAGUERRE. 
 
 Painted Hijlory and Portraits. 
 
 DIED 1721, AG£D 58. 
 
 This artift was the affiftant and imitator of Verrio, with whofe name his will be 
 preferved when their united labours (hall be no more, both being immortalized by that 
 unpropitious line of Pope, 
 
 Where fprawl the faints of Verrio and Laguerre. 
 
 The fame redundancy of hiftory and fable is difplayed in the works of both ; and it is 
 but juftice to fay their performances were at leaft in as good a tafte as the edifices they 
 were appointed to adorn. 
 
 Laguerre's father was a Catalan, who fettled in France, and became mafter of the 
 menagerie at Verfailles. The fon being born at Paris in 1663, Louis XIV. did him 
 the honour of being his godfather, and gave him his own name. At firft he was placed 
 in the Jefuit's college, but having a hefitation in his fpeech, and difcovering much incli- 
 nation to drawing, the good fathers advifed his parents to breed him to a profeflion that 
 might be of ufe to himfelf, fince he was not likely to prove fervieeable to them. He 
 however brought away learning enough to afTift him afterwards in his allegoric and 
 hiftoric works. He then ftudied in the Royal Academy of Painting, and, for a fhort time} 
 under Le Brun. In 1683 he came to England with one Richard, a painter of architecture, 
 and both were employed by Verrio. Laguerre painted for him raoft part of the large 
 picture in St.. Bartholomew's hofpital; and fucceeding fo well when little above twenty, 
 he rofe into much bufinefs, executing great numbers of cielings, halls, and ftaircafes, 
 particularly at Lord Exeter's, at Burleigh, the ftaircafe at old Devonfhire-houfe, in 
 Piccadilly, the ftaircafe and falon at Buckingham-houfe, the ftaircafe at Petworth, many 
 of the apartments at Burleigh on the Hill, where the walls are covered with his Csefars; 
 fome things at Marlborough-houfe, in St. James's Park ; and, which is his beft work, the 
 falon at Blenheim. King William gave him lodgings at Hampton-court, where he 
 painted the Labours of Hercules in chiaro-fcuro; and being appointed to repair thofe 
 valuable pictures, the Triumphs of Julius Caefar by Andrea Montegna, he had the judg- 
 ment to imitate the ftyle of the original, inftead of new clothing them in vermillion and 
 ultramarine ; a fate that befel Raphael even from the pencil of Carlo Maratti. 
 
 Laguerre was at firft chofen unanimoufl y, by the commiffioners for rebuilding St. Paul's, 
 to decorate the infide of the cupola, but was fet afide by the prevailing intereft of Thorn- 
 hill, a preference not ravifhed from him by fuperior merit. Sir Godfrey Kneller was 
 more juft to him, though from pique toThornhill, and employed him to paint the ftair- 
 cafe of his houfe at Witton, where Laguerre diftinguilhed himfelf beyond his common 
 performances. On the union of England and Scotland, he was ordered by Queen Anne 
 to make defigns for a fet of tapeftry on that occafion, in which were to be introduced the 
 
 portraits 
 
LAG 
 
 C 803 3 
 
 LEN 
 
 portraits of her Majefty and the principal Minifters j but though he gave the drawings, 
 the work went no farther. A few pictures he painted befides, and made defigns for 
 engravers. In 171 1 he was a director of an Academy of painting erected in London, 
 and was likely to be chofen Governor on the refignation of Kneller, but was again 
 bafHed by his competitor Thornhill. In truth he' was a modeft unintriguing man. Vertue 
 commends him highly, and acknowledges inftructions received from him; the fource, 
 probably, of fome of his encomiums. At a tavern in Drury-lane, where was held a club 
 of virtuofi, he painted, in chiaro-fcuro, round the room, a Bacchanalian Proceflion, and 
 made them a prefent of his labour. Vertue was of opinion that Sir James Thornhill 
 was indebted to him for his knowledge of hiftoric painting on cielings, &c. 
 
 Towards his latter end he grew dropfical and inactive ; and going to fee the Ifland 
 Princefs at Drury-lane, which was acted for the benefit of his fon, then newly entered 
 to fing on the ftage, he was feized with a ftroke of apoplexy, and died before the play 
 began : he was buried in the church-yard of St. Martin in the Fields. 
 
 John LAG U ERR E, 
 
 The fon of Louis Laguerre, had talents for painting, but wanted application ; pre- 
 ferring the ftage to more laborious ftudies. After quitting that profeffion, he painted 
 fcenes, and publifhed a fet of prints of Hob in the Well, which had a great fale, ; but he 
 died at laft in indigent circumftances in the year 1748. 
 
 George LAMBERT. 
 Painted Landfcape } Scenery^ &c. 
 DIED I765. 
 
 This artift, who was inftructed by Haffel, and at firft imitated Wootton, was a very 
 good mafter in the Italian ftyle, and followed the manner of Gafpar, but with more 
 richnefs in his compofitions. His trees were in a great tafte, and grouped nobly. He 
 painted many admirable fcenes for the playhoufe, where he had room to difplay his genius ; 
 and, in concert with Scott, executed fix large pictures of their Settlements for the Eaft- 
 India Company, which are placed at their houfe in Leadenhall-ftreet. He alfo did a few 
 Jandfcapes in crayons. 
 
 Bernard LENS. 
 Painted Portrait in Enamel^ &c. 
 
 DIED I74L 
 
 He was of a family of artifts, mentioned in the Catalogue of Engravers, and an 
 admirable painter in miniature. He painted fome portraits in that way j but his chief 
 
 5 I 2 excellence 
 
L I O t 8o4 J L 1 ° 
 
 excellence confifted in copying the works of great matters, particularly Rubens and 
 Vandyck, whofe colouring he imitated exactly. He was painter 'to the Crown, by the 
 title of enameller, which was changed from limner when Boit held the office. Lens 
 publifhed fome views and drawing-books, as he had many fcholars. He made two fales 
 of his pictures, and died at Knightfbridge, whither he had retired from bufinefs. 
 
 John Stephen LIOTARD, 
 
 Painted Miniature^ &c. 
 
 This artift, who was born at Geneva, came over in the laft reign, and ftaid two • 
 years. In 1725, he went to ftudy at Paris, and in 1738 he accompanied the Marquis de 
 Puifieux to Rome, who was going Ambaflador to Naples. At Rome he was taken notice 
 of by the Earls of Sandwich and Befborough, then Lord Duncannon, who engaged 
 Liotard to go with them on a voyage to Conftantinople. See Mufeum Florent. vol. X, 
 where Lord Duncannon's name is fpelt Milord D'un Canon. 
 
 He painted admirably well in miniature, and finely in enamel, though he feldom 
 practifed it ; but he is beff. known by his works in crayons. Kis likenefTes were as 
 exact as poflible, and too like to pleafe thofe who fat to him ; thus he had great bufinefs 
 the firft year, and very little the fecond. Devoid of imagination, and, one would think, 
 of memory, he could render nothing but what he faw before his eyes. Freckles, marks 
 of the fmall-pox, every thing found its place; not fo much from fidelity, as becaufe he 
 could not conceive the abfence of any thing that appeared to him. Truth prevailed in 
 all his works, grace in very few or none. Nor was there any eafe in his outline, but 
 the ftiffnefs of a buft in all his portraits. Thence, though more faithful to a likenefs, 
 his heads want air and the foftnefs of flelh, fo confpicuous in Rofalba's pi&ures. Her 
 bodies have a different fault; fhe gave to men an effeminate protuberance about the 
 breafts; yet her pictures have much more genius. The Earls of Harrington and 
 Befborough have fome of his moft capital works. At Constantinople he beca-me 
 acquainted with the late Lord Edgcumbe, and Sir Everard Fawkener, our Ambaflador, 
 who perfuaded him to come to England. On his way he palled fome time at Paris. In 
 his journey to the Levant he adopted the eaftern habit, and wore it here with a very 
 long beard. It contributed much to the portraits of himfelf, and, fome thought, to draw 
 cuftomers; but he was really a painter of uncommon merit. After his return, he 
 married a young wife, and facrificed his beard to Hymen. He came again to England in 
 1772, and brought a collection of pictures of different matters, which he fold by auction i 
 and fome pieces of glafs painted by himfelf, with furprifing effect of light and made, 
 but a mere cur ion ty, as it was neceflary to darken the room before they could be feen to 
 advantage : he affixed too, as ufual, extravagant prices to them. He ftaid here about 
 
 5 . twq 
 
MEN. [ 3c 5 ] MEN 
 
 two years, as in his former journey.- He has engraved fome Turkifh portraits, one of 
 the Emprefs Queen and the eldefl Arch-duchefs, in Turkifh habits, and the heads of 
 the Emperor and Emprefs. 
 
 Anthony Raphael MENGS. 
 
 Fainted in Miniature and Enamel. 
 
 DIED I779, AGED 41. 
 
 This artift was of the German fchool,and born at Aufzig, a town in Bohemia, in 1728-. 
 He was the difciple of Ifmael, his father, a painter in miniature and enamel, who, after ha\ ing 
 kept him for along time fketching geometrical figures, without rule or compafs, and having 
 ufed him afterwards to draw from cafts in plafter, modelled upon the antique, or copied 
 from nature, took him at an early age to Rome, where he confined him to copying in 
 crayons, the fineft relics of the. art of the Greeks, Michael Angelo's chapel of Sixtus, and 
 the apartments of Raphael. This was opening to him the road to the fublime : but he 
 himfclf thwarted the plan he had caufed him to adopt, by obliging him to paint in minia- 
 ture and enamel confiderable compofitions, fuch as whole pictures of Raphael. Ifmael was 
 painter to Auguftus III. Elector of Saxony, and King of Poland: — tne young Raphael, 
 foon after his return to his own country, enjoyed the fame honour \ and, after a fecond 
 journey to Rome, he was appointed firft painter to this Sovereign. But the climate of 
 Drefden was unfavourable to his health ; or rather, the love he had conceived for the 
 capital of the arts, was fo ftrong that he could not feel happy elfewhere, and made him 
 confider the diforder of his imagination as a real malady. He obtained permillion to vifit 
 Rome a third time. Soon after this, the unfortunate war which ended in the fubjection 
 of Saxony, deprived him of his penfion as firft painter, and reduced him to poverty, but 
 at the fame time gave him his freedom. He took advantage of his liberty to paint in 
 frefco a cieling in the church of the Auguftins, dedicated to St. Eufebius; and this piece, 
 for which he was very badly paid, acquired him a confiderable reputation. In another 
 cieling that he painted for the Villa- Albani, and in which he chofe for his fubject, Apollo, 
 Mnemofyne, and the Mufes, he ventured to lay afide' the ufual mode in thofe fort of 
 pictures, of taking the point of view from the bottom to the top; a practice which 
 occafions fhortenings that muft always be a blemifh in the beauty of the figures. His 
 plan was, to fuppofe that his performance was a picture fixed on the cieling. This 
 fcheme was by fome greatly applauded, and by others feverely criticifed. He had 
 however a great example on his fide, that of Raphael, and, what fhould be more regarded 
 than any examples, the great principle of difcovering and preferving beauty, which per- 
 haps ought to overbalance all the other principles of the art. 
 
 Called to Madrid by Charles the Third, he there executed a great many works, ar.d 
 was magnificently rewarded. Excefs of application, and fome difgufts, which too often 
 are excited by envy of diftinguiflied merit, threw him into a ftate pfmarafnus. He, 
 
 returned 
 
4 
 
 U EN [ 806 ] MEN 
 
 returned to Rome, enjoying his falary of firft painter to the King of Spain, prolonged his 
 flay in Italy as long as he could, and was at laft obliged to comply with the preffing 
 orders of his Majefty. New undertakings procured him his liberty and a linecure, and 
 he now began to flatter himfelf that he fhould at laft enjoy a ftate of happinefs; but?, 
 he had fcarcely returned to Rome, when he had the misfortune to lofe his wife, which 
 Overwhelmed the remainder of his days with a deep melancholy. 
 
 It muft be left to time to eftablifh the reputation of this celebrated attift. His partifans, 
 at the head of whom is the famous Winckelmann, place him on an equality with Raphael, 
 and even attribute to him fuperior qualifications. Artifts whofe minds have been cultivated, 
 and whofe talents mould give weight to their judgment, aflign him an honourable place 
 amongft celebrated painters ; other perfons, artifts too, will hardly acknowledge that he 
 poffeffed any diftinguifhed talents. His fame was too great not to excite envy : indeed 
 many men are weak enough to wifh to detract from the diftinctions acquired by merit, 
 whilft the poffeffors are living, and fometimes even after they are dead. It may perhaps 
 be faid, that no artift poffeffed more fublime principles on the art, and it is hardly poflible 
 that grand principles mould not have an influence on the performances. His prudence 
 has been termed coldnefs by the amateurs of extravagant compofitions : but if all his 
 pieces have been the refult of deep reflexion, they muft have been improperly judged of, as 
 works of art are generally confidered without reflexion. He has been cenfured for a dimi- 
 nutive ftyle, which feemed to arife from his previous application to miniature-painting : 
 he is accufed alfo of a drynefs of manner, a fault which he is faid to have perceived in 
 himfelf, and to have corrected. It is pretended that, in many of his works, his finifliing 
 had the effect of enamelling ; and Pompeio Battoni ufed to fay, that Mengs's pi&ures 
 would ferve for looking-glaffes. But, admitting that he had all thefe defects, it may never- 
 thelefs be true that he was an artift of extraordinary merit ; becaufe even confiderable 
 defects may be overbalanced by ftriking beauties, and becaufe thofe that are attributed to 
 him belong only to the fecondary parts, or the handling of the art, and that he poflefTed 
 the effential qualities and the powers of imagination. The faults of eminent men afford 
 a confolation to the malignity of their cotemporaries : pofterity forgives them, and fcarcely 
 condefcends to notice them : it feeks after perfections only, which is the conftant object of 
 its attention. — The ill-treatment of an artift by his cotemporaries, gives an important 
 leffon to thofe who fucceed him. 
 
 In his writings Mengs has introduced metaphyfics in a platonic and fubtil manner, 
 which creates a difficulty of coraprehenfion : fome Angular ideas alfo are to be found 
 there, which it might be dangerous to adopt : many of an exclufive nature, and would 
 contract the circle of the art. But there is not any book more capable of elevating the 
 mind of an artift, by infpiring them with a fublime idea of their profeflion. By it the 
 obje& becomes enlarged, and they feel themfelves infpired with the love of the fublime and 
 beautiful, which mould ever be their aim in their compofitions. From their mafters they 
 learn that they are to imitate nature ; from Mengs, that they are to create a nature more 
 
MON [ 807 J MO R 
 
 grand, more beautiful even than that which ftrikes their fenfe£«— they feel thenifelves 
 called to create a divine nature : proud of this great object of theirs, they reverence it, 
 and would be afraid of degrading it by mean productions— -they refpect themfelves, and 
 produce fuch works only as are worthy of fupporting this laudable pride. 
 
 The Interview between Auguftus and Cleopatra, by Mengs, is engraved in mezzo- 
 tinto. Hiftory writing while Janus dictates, a picture of the Vatican, and the Virgin 
 holding the infant Jefus, were engraved by Don Cunejo: a St. John and a Magdalen were 
 engraved by Salvador Carmona. 
 
 A number of artifts think themfelves juftified in defpifing the old paintings dug up at 
 Herculaneum : and it is more than probable that they are not the works of the great 
 painters of antiquity, but were executed at a time when the art had much degenerated 
 among the ancients. There are however fuch works of the Grecian fchool in them, 
 that Mengs, though he had attained fo much reputation, ftudied them very clofely at his 
 fecond return to Madrid, and found hints in them for the improvement and perfection of 
 his ftyle. He at one time ftudied Raphael much; he had even imitated the fchool of 
 Athens ; and yet this difciple of the firft of modern painters, thought proper to become 
 the difciple of the ancient painters of Herculaneum. 
 
 P. M O N A M Y. 
 
 Painted Sea-Pieces* 
 
 DIED I749* 
 
 This artift, who was a good painter of fea-pieces, was born in Jerfey, and certainly, 
 from his circumftances or the views of his family, had little reafon to expect the 
 fame he afterwards acquired, having received his firft rudiments of drawing from a 
 fign and houfe painter on London Bridge. But when Nature gives real talents, they 
 break forth in the homelieft fchool. The {hallow waves, that rolled under his window, 
 taught young Monamy what his mafter could not teach him, and fitted him to imitate the 
 turbulence of the ocean. In Painter-Stainers Hall is a large piece by him, painted- 
 in 1726. 
 
 John Hamilton MORTIMER. 
 Painted Hi/lory, Land/cape, Portrait, &c 
 
 DIED 1779, AGED 38. 
 
 This painter, of uncommon powers, cut off as he was approaching the meridian of his 
 excellence, was born at Eaft-bourne in the county of Suffex : his father was a collector 
 of the cuftoms at that port, who bore a moft refpectable character. There were four 
 children; John was the youngeftj his brother at this very time holds the place under 
 
 government 
 
M O R 
 
 [ 808 ] 
 
 M O R 
 
 government which belonged to his father ; and the other two were daughters. Our painter 
 caught a love for the art, which he afterwards profefled with fo much honour to himfelf, 
 from, two very remarkable circumftances: Before his eyes were conftantly fome drawings, 
 by an uncle of the fame name, who, though Jie never rofe above mediocrity, has yet left 
 behind him fome works which will preferve his name from oblivion, particularly thealtar- 
 piece at Aylefbury church, * and the portraits of Pat Alexander, and an old woodman 
 in the neighbourhood. As this man was an itinerant, his works are flill to be feen in 
 .feveral parts of Great Britain, particularly in Yorkfhire. 
 
 Nor was the young defigner at a lofs for objecls on which to indulge his fportive fancy: 
 for the peculiar fituation in which he was placed occafioned him to obferve the proceedings 
 of that ferocious and cunning tribe of men, the fmugglers, and led him to be very con- 
 verfant with the wild fecnes of nature, and the terrific grandeur of the fea, in watching 
 their artful proceedings, that his parent might belt purfue thofe meafures which the duty 
 of his office called upon him to fulfil. Relative affection might be faid to have produced 
 the defire, and local circumftances to form the peculiar tafte, of one who, every where 
 but in his paintings, pofiefled mildnefs and urbanity of manners in the higheft degree. 
 Was nature, indeed, more liftened to than it is in the choice of a profefTion, we mould 
 not fo often have occafion to lament that dulnefs has admittance where genius alone mould 
 be found, and that genius herfelf had miftaken her aim, in choofing that avocation which 
 too much tended to cramp her powers and clip her wings. From education young Mor- 
 timer received no great advantages, as it was merely that which his own, then obfeure,. 
 village afforded j but, however, from being frequently in company with men of talents, 
 he acquired a greater knowledge of the poets than is generally pofiefled by perfons whofe 
 purfuits do not ablblutely oblige them to live on the fruits of their literary ftock. 
 
 Contrary to the pernicious maxims which the moft cautious parents generally adopt, . 
 in dictating to their children the walk of life in which they fhould tread, they who had 
 the happinefs of calling this child their own, fanned the rifing flame, and placed him for 
 three years with Mr. Hudfon, giving a premium of ^100 for that purpofe; having taken 
 great delight in looking at thofe drawings which he had produced from time to time in 
 copy-books, which they procured him for that purpofe, feveral of which are in the pofleflion 
 of Knight C. of Shropshire. At Mr. Hudfon's he fucceeded Sir Jofhua Reynolds, and 
 had for his fellow pupil Mr. Wright, of Derby ; names which can never be mentioned 
 without exciting agreeable emotions. Whilft he was here, and for a confiderable time 
 afterwards, he attended the Duke of Richmond's gallery, which was, indeed, his 
 fchool, and where his affiduity, his exertions, and his opening powers, were fo much 
 noticed by Cipriani, and the late Mr. Mofer, that they reprefented him fo favourably to 
 his Grace, whofe liberal plan might be faid greatly to have contributed to the encou- 
 ragement 
 
 * The fubject was the Lord's Supper. Mortimer intended to have retouched it, if he had furvived. 
 
 / 
 
M O R 
 
 [ 809 ] 
 
 M O R 
 
 ragement of young artifts (who, previous to that period, laboured under peculiar difcou- 
 ragements, from which they are now in fome meafure freed), that he wiflie.d very much to 
 have retained him in his houfe, which offer he rejected on fome account or other. 
 
 When the artifts exhibited their pictures at Spring Gardens, he contended the palm 
 with Hayman, who might have been ftiled the father of hiftoric painting, in England, 
 and bore it away, which was no fmall honour when fuch were the competitors. The 
 fubject was the Converfion of the Britons by St. Paul, and is now placed over the altar 
 at the church of Chipping-Wycombe, for which purpofe it was retouched in 1778, having 
 been previoufly given by Dr. Bates, then of Miffenden, but now of Red-Lion Square ; to 
 vvhofe liberal communications the writer of this article is greatly indebted, and whofe 
 heart will ever feel the manner in which that obligation, as well as many others, was 
 conferred. 
 
 About this time, Mr. Mortimer refided at one Maronne's, a bookfeller, under the 
 Piazzas, in Covent-Garden, where he contracted an intimacy with feveral that were 
 dillinguiihed for the livelinefs of their parts, rather than from any folid properties which 
 they had to recommend them ; and he frequently lamented, that the courfe of life which he 
 then purfued was extremely injurious to his health. He then took a houfe in the church- 
 yard of St. Paul's, Covent-Garden, belonging to Mr. Langford, the auctioneer, and 
 refided in it feveral years, till he married Mifs Jane Thirfel, at that church, and afterwards 
 refided in Norfolk-ftreet, where his widow now lives. Never was a man more happy in 
 fuch a connexion, or a woman more miferable when death deprived her of him. They 
 pofleffed, in an uncommon degree, the fame turn of mind, brilliancy of fancy, and fmartnefs 
 of repartee, accompanied with the utmoil cheerfulnefs of temper. Several times have I 
 partaken of this feaft of reafon, and deeply regret that it is a banquet of which I am no 
 longer called upon to partake. 
 
 In 1774 he exhibited his Progrefs of Vice, taking Salvator Rofafor his model, and at 
 length greatly furpafled him. In his Progrefs of Virtue, which he drew as a companion, 
 he was not fo fuccefsful. It feldom happens that an after-thought will anfv/er, for then is 
 loft the vivid fire which gave the glowing feature to the whole. Tired of the dial pations 
 to which he had been too long accuftomed, and induced by Dr. Bates to fettle at a large 
 houfe belonging to that gentleman, at Aylefbury, in Bucks, where was a very fpacious 
 room, entirely calculated to fhew his paintings to advantage, and a garden, from which 
 was a very extenfive profpect to behold, he cheerfully acceded to it, as a refidence for the 
 fummer months. While he was recovering his health, and forming the tone of his mind 
 anew, he cultivated with greater ardour than ever his bold defigns ; and having been 
 introduced by his learned patron to five families in the neighbourhood, viz. the Kenyons, 
 &c. at the Vatch Chalfant, St. Giles's, where Sir Hugh Pallifer now refides ; Mr. Drake's, 
 of Chardiloes, Agmondefliam ; Coulflon Scottowe, Efq. late Colonel of the Bucks 
 Militia ; the late Mr. Grubb, of Horfenden ; and Lord le Defpencer ; he painted as much 
 in one year as amounted to 900!. Nor did this retirement prove abortive in the hiigheft 
 
 5 K fenfe, 
 
M O R 
 
 [ 810 ] 
 
 M O R 
 
 fenfe ; for having once broken the charm, and betaken himfelf to practices more becoming, 
 a rational mind, his difcourfe now became decent and guarded, and his attendance on the 
 duties of religion very exact; and, indeed, one that well knew him, obferved, that religion: 
 feemed to have taken a very fcrong hold of his mind. The larger works of this artift are 
 fo well known, that a bare enumeration is fufncient, viz. i. King John figning Magna 
 Charta; 2. The Battle of Agincourt ; 3. The Origin of Health; 4. Twelve Characters 
 from Shakfpeare, and four, reprefenting the Tragic and Comic Mufe, Poetry, and Paintings 
 5. Banditti, from Salvator Rofa; 6. A fet of Monfters, which were defigned to contraft 
 the horrible and the tender ; 7. A Group of Geniuses in caricature, viz. Johnfon, Churchill, 
 Goldfmith, &c. As a portrait-painter, he did not poffefs much excellence. Still-life 
 had not fuflicient attractions for his romantic mind; he has, however, drawn feveral.. 
 
 He alfo afiifted others ; for the figures in Paton's Sea Views, which were fent over to 
 the Emprefs of Ruffia, being reprefentations of important victories gained by her, were 
 drawn by him. Jervafe frequently employed him; and, among other works, the defign 
 of the Great Window at Salifbury cathedral is done by him. The leifure moments of 
 Air. Mortimer were employed in drawing defigns for Bell and others : thofe which were 
 prefixed to the firft edition of Evelina were of his performance. His defigns are, indeed, 
 preferred to his paintings, by thofe who have had an opportunity to examine both with 
 attention. The heat of genius was not cooled by flaying too long on the anvil of induftry; 
 there are fome fine (ketches ftill in the pofleffion of Dr. Bates ; one efpecially, of 
 Mr. Kenyon's family, with the original fketch at the bottom of the paper. 
 
 It was aftonifhing to obferve with what rapidity he wrought. No man feemed lefs 
 confeious of his own powers than himfelf, or lefs unwilling to encourage others who 
 had the fmalleft pretenfions to excellence. Before he attempted any work of importance, 
 he always devoted fome time to the perufal of that author which would give him the molt 
 information; and, indeed, his converfation frequently turned on alluiions to the politefl 
 writers, exprefled in the moil: forcible terms. After the fketch had been drawn, he generally 
 gave himfelf fome reft, though he often applied to the drag-net by way of exercife. 
 
 Mortimer may, with truth, be faid to have been a perfect mafter of the human form: 
 his knowledge of anatomy, his inftructive fkill in every iituation of the human figure,, 
 were fuch, that at any time, to amufe his friends, he would draw with a common pen and 
 ink, and with the moft critical exactnefs, the human fkeleton in any attitude; and after- 
 wards, with a different coloured ink, clothe it with mufcles, difplaying a power that was 
 truly aftonifhing : nor was it here only that he fhone with unrivalled luftre, though this 
 alone were fuflicient to fet him (as it did) above all competition; he was equally perfect 
 in every other fubject ; every object in nature imprefied itfelf fo ftrongly on his imagi- 
 nation, that he never ufedj nor had occafion for an architype : in every department of his 
 art, whether fubjects of hiftory, landscape, animals, or Jlill-life; every object, from the 
 human figure to a plant, a flower, an infeft, reptile, or Jhell, he could reprefent from his 
 imagination only, with a truth and perfection that rivalled the nature he imitated. 
 
 This 
 
M O R 
 
 t 8" 3 
 
 N O L 
 
 This extraordinary artift formed himfelf on the antique; and here he applied with 
 a diligence and afliduity feldom found in thofc who poffefs fuch great talents ; from this he 
 derived a peculiar advantage to all his historical compositions ; for, by the happiest and moft 
 judicious union of the ideas of the antique, with his obfervations of living nature, he gave 
 a noblenefs and truth to the countenances of his figures, which is feldom found, even in the 
 productions of the best of the old masters ; of thofe noble and beautiful characters, he 
 pofTeired (like the nature he imitated) fuch an endlefs and inexhaustible variety, that in all 
 his numerous paintings and drawings there never appeared two that were not different. 
 
 Yet, with all thofe aftonifhing acquirements in his art, his modesty was fuch as only to be 
 rivalled by his generofity, and the benevolence of his friendly difpofition : as his drawings 
 were justly confidered inestimable by every brother artift who faw them, fo they con- 
 fequently were eagerly fought, and universally coveted ; yet he never was known to refufe 
 any of thofe productions to a friend that applied for them; he would at any time, with 
 a facility and good humour, not lefs furprifing than his fcientific talents, leave his own studies, 
 either to paint, or draw a figure for a friend; which excellent and praife-worthy bene- 
 volence has this further claim to our highest estimation, that thofe generous fervices gave 
 value, as well as reputation, to the works of every artift whom his friendfhip thus afiifted. 
 
 The career of this true devotee to Apollo terminated fooner, and much more fuddenly, 
 than could have been wifhed. He flayed at Aylefbury till about the clofe of the year, and 
 went to London as well as ufual. The evening but one before he went up, he fupped at 
 his houfe, in company witrifome friends; and he feemed as cheerful as ever, and talked of 
 writing his life in Hudibraftic verfe. Soon after, however, an alteration took place; he 
 was feized with a violent fever, which, preying upon a constitution already weak, carried 
 him off in a few days, to the regret of all that knew him. He was attended by two phy- 
 ficians ; but being defirous of feeing his old friend Dr. B. he came up to him, and, alas ! had 
 the pain to behold his lively friend give up the ghoft in his arms. He died at a time when 
 Envy was withdrawing her fhafts, and the voice of Truth was heard with attention. He 
 is dead, but his memory lives ; for there was that about him, independent of his talents, 
 which mull make every admirer of true worth and cultivated understanding regret his lofs. 
 
 Joseph Francis NOLLIKINS. 
 Painted Landfcape, Figures, and Conversations. 
 
 DIED I748, AGED \%. 
 
 This artift came from Antwerp, and Was the fon of a painter who had long resided in 
 England, but who had fettled and died at Roan. The fon came over young, and ftudied 
 under Tillemans, and afterwards copied Watteau and Paulo Panini. He painted land- 
 fcape, figures, and converfations, and particularly the amufements of children. He was 
 much employed by Lord Cobham, at Stowe, and by the late Earl of Tilney. He died 
 in St. Anne's parifh, leaving a wife and a numerous young family. 
 
 5 K 2 
 
 PHILLIPS, 
 
P H I 
 
 [ 812 ] 
 
 REV 
 
 PHILLIPS. 
 
 Painted Converfations. 
 
 This ingenious artift, who was the fon of a painter in oil, had great merit in imitating 
 the portrait-converfations of the inimitable Hogarth. The father died in 1741, aged 
 about 60 j the fon died much younger. 
 
 John Baptist PIAZETTA. 
 Painted Figures. 
 
 DIED 1754, AGED 72. 
 
 He was of the Venetian fchool, born at Venice, in 1682, and muft be confidered as a 
 difciple of the Lombard fchool: he took for his model principally the works of the Caracci, 
 and Du Guercin. He underftood well how to difpofe his objects and grand compofitions, 
 was not always correct in his drawing, and was a mannerift as to motion and colouring. He 
 poflefled that talent which is often miftaken for grace, and painted with a broad, firm, and 
 loft pencil. He died at Venice, in 1754, aged 72. He was well verfed in cieling work:. 
 
 Joshua REYNOLDS. 
 Painted Hi/lory and Portraits. 
 
 DIED I792, AGED 69. 
 
 Jofhua Reynolds, the fon of the Rev. Samuel Reynolds and Theophila Potter, was 
 born at Plympton, near Plymouth, in Devonfliire, July 16, 1723, the tenth of eleven 
 children, five of whom died in their infancy. He was for fome time inftructed in the 
 daffies by his father, and began, at a very early age, to difplay an inclination for the art, 
 in which he afterwards became lb pre-eminent, by copying the prints he found in his 
 father's books. At eight years of age he made jiimfelf mafter of the Jefuit's perfpective, 
 and executed, according to rule, a drawing of the Grammar-School at Plympton, which 
 his father taught. But what moft inflamed his mind with the love of the art, was 
 Richardfon's Treatife on Painting, by which he was fo delighted, that he thought Raffaelle 
 the moft illuftrious charadter of ancient or modern time. After fome practice in different 
 parts of the country, where there are yet to be feen many of his juvenile efforts, in which 
 the moft partial eye would find it difficult to difcover any promife of that fuperlative excel- 
 lence afterwards attained by him, his father placed him, when not much above feventeen, 
 under Hudfon, the moft diftinguifhed artift of that day, with whom he in a fhort time 
 acquired the rudiments of his art. Difagreeing with his mafter three years after, in 1743, 
 he retired into Devonfhire, where he is faid to have diffipated the three following years, 
 making little effort,-and little improvement, to his great remorfe of confcience afterwards } 
 2 but 
 
\ 
 
 REY . [ 813 ] R E Y 
 
 but this account is not eafily reconcileable with the great degree of proficiency that 
 appears in fome of his pictures painted in 1746; particularly a boy reading in reflected 
 light, which, bating the want of a little dexterity in the handling or pencilling, feems 
 nearly equal to any thing fmce produced by him, and the fight of which excited furprife 
 in hi m upwards of thirty years after, and regret, that he had in fo many years made 
 fo fhort a progrefs. 
 
 In 1749 he was carried by (Captain afterwards Lord) Keppel to Italy, where he ftaid 
 three years ; but of the courfe of' his ftudies while he remained there, little can now be 
 known : that he faw and reflected deeply on the great works of the ancients and moderns, 
 the Venetian fchools excepted, is proved more by his writings than by his paintings. 
 Perhaps fome attempts may be difcovered in his practice to imitate Michael Angelo, and 
 more to imitate Correggio ; but it is evident that his whole life was devoted to his finding 
 out the Venetian mode of colouring; in the purfuit of which he rifked both his fame and 
 fortune. In his notes on Frefnoy, he gives an account of an ingenious method taken by 
 him, when at Venice, to difcover the principles of chiaro-fcuro adopted by the painters of 
 that fchool ; and in another place he confefTes, that he was much difappointed at the firft 
 fight of the works of Raft'aelle in the Vatican, and much mortified to find that he had not 
 only conceived wrong notions reflecting that great man, but was even incapable of relifh- 
 iaig the real excellencies of his mod celebrated productions ; but, fays he, " by copying 
 and viewing them again and again, and even affecting to admire them more than I really 
 did, new tafte and new perceptions began to dawn upon me. I was convinced that I had 
 originally formed a falfe opinion of the perfections of the art; and fince that time, having 
 frequently revolved this fubject in my mind, I am now clearly of opinion, that a rellfli for 
 the higher excellencies of the art is an acquired tafte which no man ever pofiefied without 
 long cultivation, great labour, and attention." It is not probable, however, that he fpcnt 
 much of his time in copying; for, in apreferved fragment of his writing, he fays, " The 
 man of true genius, inftead of fpenuing all his hours, as many artifts do while they are at 
 Rome, in meafuring ftatues and copying pictures, foon begins to think for himfelf, and 
 endeavours to do fomething like what he fees. I confider," adds he, "general copying as 
 a delufive kind of induftry; the ftudent fatisfies himfelf with the appearance of doing fome- 
 thing; he falls into the dangers of imitating without felecting, and of labouring without 
 any determinate object : as it requires no effort of the mind, he fleeps over his work, and 
 thofe powers of invention and difpofition, which ought particularly to be called out and 
 put in action, lie torpid, and lofe- their energy for want of exercife. How ncapable of 
 producing any thing of their own, thofe are who have fpent molt of their time in copying, 
 is an obfervation well known to all who are converfant in our art." 
 
 Confidering the ftudy and practice Mr. Reynolds muff have gone through before he 
 vifited Italy, he certainly was, in comparifon of others, a man of a cultivated tafte; and, 
 though what has been faid may be very true, that many perfons, after having been con- 
 ducted through the rooms of the Vatican, have turned to the keeper, and alked him for 
 
 the 
 
KEY [ 814. ] HEY 
 
 the paintings of Raffaelle, yet it is not eafy to conceive how he, who probably had feen 
 the Cartoons, and other pictures, befides prints from this great painter, fhould have formed 
 fuch an inadequate and erroneous idea of what he was to fee at Rome. Splendour of 
 colour, and depth of chiaro-fcuro, he muft have been taught not to expect ; ftrength and 
 dignity of character, unexampled variety, and vivacity of expreffion (qualities more finking 
 to the eye of tafte, and fcarcely lefs fo to the vulgar), they certainly poffefs. To what then 
 can be attributed their want of impreffion, particularly on fuch-as him ? It does not appear 
 that the fame complaint has been made of the works of Michael Angelo. 
 
 On his return from Italy he hired a large houfe in Newport-ftreet ; and the firft fpeci- 
 men he gave of his abilities is faid to have been a boy's head in a turban, richly painted, 
 in the ftyle of Rembrandt, which fo attracted Hudfon's attention, that he called every day 
 to fee it in its progrefs.; and perceiving at laft no trace of his own manner left, he 
 exclaimed, " By G — d, Reynolds, you don't paint fo well as when you left England !" 
 A whole-length portrait of Admiral Keppel, which he painted foon after, drew on him 
 univerfal admiration, and he was at once coniidered to be at the head of the profeflion in 
 portrait-painting. This indeed, w T hen the ftate of the art at that time is adverted to, can- 
 not be deemed any great praife; and the man who could unite to a dignified characteristic 
 refemblance of the head, an endlefs variety of fpirited and graceful attitudes, picturefque 
 back-grounds, novel and ftriking efforts of light and fhade, with a voluptuous richnefs and 
 harmony of colour, was certainly entitled to much more. It muft not, however, be under- 
 ftood that his performances at that time poffeffed thofe excellencies to the degree in which 
 we find them in his latter works ; for he was one of the few, whofe efforts to improve 
 ended but with his life, who has been heard to fay, that he never began a picture without 
 a determination to make it his beft ; and whofe unceafing progrefs almoft juftified the 
 maxim he was fo fond of repeating continually, " that nothing is denied to well-directed 
 induftry." Befides his uncommon affiduity, which was apparent to all, not much infor- 
 mation Can now be given of the precife method of ftudy by which fuch extraordinary 
 excellence was attained, except what may be collected from the following extract, made 
 from fome papers left by him, and intended, perhaps, for another difcourfe; in which, as 
 his biographer obferves, he fpeaks of his merits and defects with fingular modefty and 
 -candour." " Not having the advantage of an early academical education, I never had that 
 " facility of drawing the naked figure which an artift ought to have. It appeared to me too 
 " late when I went to Italy, and began to feel my deficiencies, to endeavour to acquire that 
 " readinefs of invention which I obferved others to poffefs. I confoled myfelf, however, by 
 " remarking, that thefe ready inventors are extremely apt to acquiefce in imperfection ; and 
 " that if I had not their facility, I fhould., for this very reafon, be more likely to avoid the 
 " defect which too often accompanied it ; a trite and common-place invention. How diffi- 
 " cult it is for the artift who poffeffes this facility to guard againft careleffnefs and common- 
 " place invention, is well known; and in a kindred art Metaftafio is an eminent inftance, 
 <*< who always complained of the great difficulty he found in obtaining correctnefs, in con- 
 
 r " fequence 
 
RE Y [ Si* ] R E Y 
 
 (t of having been in his youth an hnprovcfatsre. Having this defect "conftantly in my 
 K mind, I never was contented with common-place attitudes or inventions of any kind. 
 
 " I confidered myfelf as playing a great game ; and, inftead of beginning to fave money, 
 " I laid it out, fafter than I got it, in purchafing the beft examples of the art that could 
 " be procured j for I even borrowed money for this purpofe. The pofTeflmg portraits 
 " by Titian, Vandyke, Rembrandt, &c. I confidered as the beft kind of wealth. By 
 K ftudying carefully the works of great matters, this advantage is obtained; we find 
 " that certain niceties of expreffion are capable of being executed, which otherwife we 
 <c might fuppofe beyond the reach of art. This gives us a confidence in ourfelves ; and 
 <c v/e are thus incited to endeavour, at not only the fame happinefs of execution, but alfo 
 " at other congenial excellencies. Study, indeed, confifts in learning to fee nature, and 
 " may be called the art of ufing other men's minds. By this kind of contemplation 
 " and exercife we are taught to think in their way, and fometimes to attain their 
 M excellence. Thus, for inftance, if I had never feen any of the works of Correggio 
 " I moulcfnever, perhaps, have remarked in nature the expreffion which I find in one 
 " of his pieces; or, if I had remarked it, I might have thought it too difficult, or perhaps 
 " impoffible to be executed. 
 
 " My fuccefs, and continual improvement in my art (if I may be allowed that expref- 
 " fion), may be afcribed, in a good meafure, to a principle which I will boldly recommend 
 " to imitation; I mean, a principle of honefty; which in this, as in all other inftances, is, 
 " according to the vulgar proverb, certainly the beft policy. I always endeavoured to 
 M do my beft. Great or vulgar, good fubjects or bad, all had nature; by the exact 
 w reprefentation of which, or even by the endeavour to give fuch a reprefentation, the 
 " painter cannot but improve in his art. 
 
 " My principal labour was employed on the whole together, and I was never weary 
 " of changing, and trying different modes and different effects. I had always fome 
 " fcheme in my mind, and a perpetual defire to advance. By conftantly endeavouring 
 " to do my beft, I acquired a power of doing that with fpontaneous facility which at 
 " firft was the effort of my whole mind ; and my reward was threefold, the fatisfacfion 
 " refulting from acting on this juft principle, improvement in my art, and the pleafure 
 " derived from a conftant purfuit after excellence. 
 
 " I was always willing to believe, that my uncertainty of proceeding in my works, 
 " that is, my never being fure of my hand, and my frequent alterations, arofe from a 
 * c refined tafte, which could not acquiefce in any thing fhort of a high degree excellence. 
 " I had not an opportunity of being early initiated in the principles of colouring; no 
 " man, indeed, could teach me. If I have never been fettled with refpect to colouring, 
 " let it at the fame time be remembered, that my unfteadinefs in this refpect proceeded 
 " from an inordinate defire to pofTefs every kind of excellence that I faw in the works 
 ** of others ; without confidering that there are in colouring, as in ftyle, excellencies 
 « which are incompatible with each other : however, this purfuit, or indeed any fimilar 
 
 " purfuit. 
 
RE Y 
 
 [ 8x6 ]. 
 
 R E Y 
 
 <£ purfuit, prevents the artift from being tired of his art. We all know how often thofe 
 " mafters who fought after colouring changed their manner ; whilft others, merely from 
 " not feeing various modes, acquiefced all their lives in that with which they fet out. On 
 " the contrary, I tried every effect of colour ; and by leaving out every colour in its 
 " turn, (hewed every colour that I could do without it. As I alternately left out every 
 " colour, I tried every new colour, and often, as is well known, failed. The former 
 " practice, I am aware, may be compared, by thofe whofe firft object is ridicule, to that of 
 w the poet mentioned in the Spectator, who, in a poem of twenty-four books, contrived 
 " in each book to leave out a letter. But I was influenced by no fuch idle or foolifh 
 " affectation; my ficklenefs in the mode of colouring, arofe from an eager defire to 
 " attain the higheft excellence. This is the only merit I can aiTume to myfelf from my 
 " conduct in that refpect." 
 
 Having thus early, to fpeak in the ftrong language of Johnfon, borne down all oppofition 
 before him, and left emulation panting behind, and obtained, as the fummit of human 
 felicity, poffemon of the firft place; little remains to be faid of him, till his ftyle, 
 and fome of his particular works, come under confideration, but that he was one 
 whom the moft rare and enviable profperity could net fpoil, his whole life, to the time of 
 the failure of his fight, being paffed in the diligent and unwearied purfuit of his art, at 
 once his bufinefs and his pleafure, uninterrupted by ficknefs or misfortune. The hours 
 neceffary for relaxation were chiefly fpent in the company of his numerous friends and 
 acquaintance; thefe were invited about him, as well on fyftem as from inclination; for 
 finding his profeflional purfuits debarred- him the common and regular modes of ftudy, he 
 adopted this as an agreeable method of gaining at the fame time knowledge and amufe- 
 ment: hence at his rible, for above thirty years, were occafionally affembled all the taftc, 
 talents, and genius of the three kingdoms ; men who were remarkable for their attainments 
 in literature or the arts, for their exertions in the pulpit or at the bar, in the fenate or 
 the field. 
 
 As an author, a character in which he appears fcarcely lefs eminent than in that of a 
 painter, wc probably owe his exertions to his fituation in the Royal Academy of Arts, in 
 the inftitution of which, in the year 1769, he had a principal {hare ; and, being unqueftion- 
 ably of the firft rank in his profeflion, he was unanimoufly elected the Prefidenr. This 
 circumftance certainly did not a little contribute to the increafe and eftablifhment of his 
 fame : nor did the Academy derive lefs credit from the admirable works which he conti- 
 nued yearly to exhibit in it, confifting chiefly of portraits ; though he rarely fuffered a 
 feafon to pafs in which he did not bring forward one or more fine fpecimens of his powers 
 in hiftory. From the year 1769 to 1790 inclufive, it appears that he fent no lefs than 
 two hundred and forty-four pictures to the exhibition. Soon after his election, the King, 
 to give dignity to the new inftitution, conferred on him the honour of knighthood. 
 
 The tafk of reading lectures in the Academy was no part of the prefcribed duty of 
 Jais office; but impofed voluntarily on himfelf for the following reafons, afligned by him 
 
 in 
 
RE Y 
 
 C 8x7 ] 
 
 REY 
 
 in his fifteenth Difcourfe. « If prizes were to be given, it appeared not only proper, but 
 " almoft indifpenfably neceflary, that fomething fhould be faid by the Prefident on the 
 " delivery of thofe prizes, and the Prefident, for his own credit, would wifh to fay fome- 
 <c thing more than mere words of compliment ; which, by being frequently repeated, would 
 " foon become flat and uninterefting, and,,by being uttered to many, would at laft become 
 <c a diftinction to none. I thought, therefore, if I were to preface this compliment with 
 " fome inftructive obfervations on the art when we crowned merit in the artifts whom 
 " we rewarded, I might do fomething to animate and guide them in their future 
 " attempts." 
 
 His afliduity and love for his profeflion left him little leifure, and lefs inclination to 
 make excurfions into the country. Occafionally, however, he fpent a few days at his 
 villa on Richmond Hill, and vifited at different times the feats of fome of the noblemen 
 and gentlemen of his acquaintance, from whence he was always glad to return to the 
 practice of his profeflion, and the enjoyment of that intellectual fociety, of which, like 
 his friend Johnfon, he juftly confidered London as the head quarters. In the fummer 
 of 1781, with a view of examining critically the works of the celebrated mailers of the 
 Flemifh and Dutch fchools, he made the tour of Holland and Flanders. An account of 
 this journey, written by himfelf, containing much excellent criticifm on the works of 
 Rubens, Vandyke, Rembrandt, &c. in the churches, and different collections at Antwerp, 
 Bruffels, Ghent, the Duffeldorp Gallery, and at Amfterdam, has been lately publifhed 
 with the reft of his works : the Tour clofes with a mafterly-drawn character of Rubens. 
 
 In 1783, in confequence of the Emperor's fuppreflion of fome religious houfes, he 
 again vifited Flanders, purchafed fome pictures by Rubens, and devoted feveral more 
 days to the contemplation and further inveftigation of the performances of that great man. 
 He is faid to have remarked that Rubens's pictures, on his firft vifit, feemed more vividly 
 coloured than they did on the fecond, which he attributed to his having held his note- 
 book in his hand on the former occafion, for the purpofe of writing down his obferva- 
 tions, fuppofing that the pictures derived an additional warmth and fplendor of colouring 
 from the circumftance of his eye's pafling to them from the cold white paper j but as he 
 alfo remarked, on his return the firft time, that his own pictures wanted force, and it was 
 obferved that he painted with more depth and brilliancy of colour afterwards, is it not 
 more probable that the difference of the impreflion he felt from the fight of Rubens's 
 pictures, was owing to his having accuftomed his eye in the mean time to. a greater 
 force and richnefs in his own works ? 
 
 In the fame year, 1783, Mr. Mafon's tranflation of Du Frefnoy's Art of Painting, 
 was publifhed, with notes fubjoined by Sir J. Reynolds, confifting chiefly of practical 
 obfwvations and explanations of the rules laid down by the author of the poem : and in 
 the year following, on the death of Ramfay, he was fworn principal painter in ordinary 
 to his Majefty, in which office he continued to his death. 
 
 For a very long period, as has been before remarked, he had enjoyed an almoft unin- 
 terrupted ftate of good health, (to which the cuftom of ftanding to paint, introduced by 
 
 5 L him, 
 
RE Y 
 
 [ 818 ] 
 
 KEY 
 
 him, may be fuppofed in fome degree to have contributed) except that, in the year 
 1782, he was for a fhort time afflicted by a paralytic ftroke. A few weeks, however, 
 perfectly reftored him, and he fuffered no inconvenience from it afterwards. But in 
 July 1789, while he was painting the portrait of Lady Beauchamp, he found his fight fo 
 much affected, that it> was with difficulty he could proceed in his work; and notwith- 
 ftanding every afliftance that could be procured, he was in a few months totally 
 deprived of the ufe of his left eye. After fome ftruggles, he determined, left his 
 remaining eye (hould alfo fuffer, to paint no more ; and though he was thus deprived 
 of a conftant employment and amufement, he retained his ufual fpirits, and partook of 
 the fociety of his friends with apparently the fame pleafure he had been accuftomed to ; 
 and was ftill amufed by reading or hearing others read to him. In October, 1791, 
 however his fpirits began to fail him, and he became dejected from an apprehenfion 
 that an inflamed tumour which took place over the eye that was loft, might occafion 
 the deftruction of the other alfo. This dejection might, neverthelefs, in a great degree 
 be the effect of a much more dangerous malady, with which he began now to be afflicted ; 
 but which, as he could neither explain to his phyficians the nature, nor point out the 
 feat of it, many believed to be imaginary, and he was counfelled to fhake it off by 
 exertion. About a fortnight before his death only, his liver was difcovered to be 
 difeafed, and the inordinate growth of it, as appeared after his deceafe, had incommoded 
 all the functions of life. Of this diforder, which he bore with great fortitude, he died 
 after a confinement of near three months, at his houfe in Leicefter Fields, on Thurfday 
 evening, February 23, 1792. 
 
 In his ftature Sir Jofhua Reynolds was rather under the middle fize, of a florid com- 
 plexion, roundifli, blunt features, and a lively, pleafing afpect ; not corpulent, though 
 fomewhat inclined to it ; but extremely active. With manners uncommonly poliflied 
 and agreeable, he poffefled a conftant flow of fpirits, which rendered him at all times a 
 moft defirable companion; always ready to be amufed, and to contribute to the amufe- 
 ments of others, and anxious to receive information on every fubject that prefented itfelf : 
 and though he had been deaf almoft from the time of his return from Italy, yet by 
 the aid of an ear-trumpet he was enabled to partake of the converfation of his friends 
 with great facility and convenience. On Saturday the 3d of March his remains were 
 interred in the Crypt of the^ Cathedral of St. Paul's, near the tomb of Sir Chrif- 
 topher Wren, with every honour that could be fhewn to worth and genius, by an 
 enlightened nation; a great number of the moft diftinguifhed perfons attending the 
 funeral ceremony, his pall being fupported by three Dukes, two Marquiffes, and five 
 other Noblemen. 
 
 In many refpects, both as a man and as a painter, Sir Jofliua Reynolds cannot be too 
 much praifed, ftudied, and imitated by every one who wifhes to attain the like eminence. 
 His inceffant induftry, never wearied into defpondency by mifcarriage, or elated into 
 neglect by fuccefs, has already been noticed: in addition to which it may be further faid, 
 that when the man went abroad, he did not leave the painter at home : he practifed his 
 
 profeffion 
 
RE Y 
 
 [ 8i9 3 
 
 R E Y 
 
 profeffion every where elfe, as well as in his painting room. All nature and all art was 
 his Academy; and his mind was conftantly awake, ever on the wing, comprehenfive, vigo- 
 rous, difcriminating and retentive. With tafte to perceive all the varieties of the pictu- 
 refque, judgment to felect, and fkill to combine what would ferve his purpofe; few have 
 ever been empowered by nature to do more from the funds of his own genius, and none 
 ever endeavoured more to take advantage of the labours of others, in making a fplendid 
 and ufeful collection of which no expence was fpared ; his houfe was filled to the remoteft 
 corners with cafts from the antique pictures, ftatues, drawings, and prints, by the various 
 mafters of all the different fchools and nations. Thofe he looked upon as his library, with 
 this advantage, that they decorated at the fame time that they inftructed. They claimed 
 his conftant attantion, objects at once of amufement, of ftudy, and of competition. 
 
 Beautiful and feducing as his ftyle undoubtedly was, it cannot be recommended in fo 
 unreferved a manner as his induftry both in ftudy and practice. Colouring was evidently 
 his firft excellence, to which all others were more or lefs facrificed j and though in fplendor 
 and brilliancy he was exceeded by Rubens and Paul Veronefe, in force and depth by 
 Titian and Rembrandt, and in frefhnefs and truth by Velafquez and Vandyke, yet 
 perhaps he poffeffed a more exquifite combination of all thefe qualities, and that pecu- 
 liarly his own, than is to be found in the works of either of thofe celebrated mafters. 
 
 In hiftory, he does not appear to pofTefs'much fertility of invention j as, whenever he 
 has introduced a ftriking figure, it may commonly be traced and found to belong to fome 
 of his predeceffors ; and at the utmoft, he can only be allowed the merit of fkilful 
 adaptation : but in portrait, the variety of his attitudes and backgrounds is unequalled 
 by any painter, ancient or modern, and that variety is generally accompanied with grace 
 in the turn of his figures and dignity in the airs of his heads. 
 
 Drawing, as he himfelf candidly confeffes, was the part of the art in which he was 
 moft defective; and from a delire perhaps to hide this defect, with an over-folicitude to 
 produce a fuperabundant richnefs of effect, he was too frequently tempted to fritter his 
 lights and cut up his compofition, particularly if it happened to be large, into too many 
 parts : in his fmaller hiftories however, where he had only a few heads to manage, and in 
 portraits, his compofition, both with regard to the adaptation and contraft of lines, and 
 the difpofition of the maffes of light and fhadow, is often very excellent. 
 
 In execution, though he wanted the firmnefs and breadth neceffary to the higheft ftyle 
 of art, the fpirit and fweetnefs of his touch was admirable, and would have been more 
 remarkable had he been more a mafter of drawing ; but not being readily able to deter- 
 mine his forms, he was obliged to go over and over the fame part, till fome of the 
 vivacity of his handling was frequently loft: his labour however was never wholly loft, 
 for he added to the force and harmony of his picture by every repetition. 
 
 His ftyle is precifely that which in his difcourfes he denominates the ornamental j and 
 it is remarkable, that the beauties of this ftyle, which it was his conftant delight to con- 
 template, his conftant endeavour to attain, and which he did attain to an almoft unex- 
 
 5 L 2 ampled 
 
RE Y. 
 
 C 82a j 
 
 R I C 
 
 ampled degree of excellence, he treats in his writings with a feverity bordering on con- 
 tempt j while the grand ftyle, the beauties of which he probably never attempted, is 
 fpoken of in a manner approaching to idolatry; not only its fevere and majeftic fimpli- 
 city, but its drynefs, accidental hardnefs of manner, and inharmonious effect, proceeding 
 evidently from want of fkill in the artift, are excufed y and almoft infifted on as 
 eflential beauties. His theory indeed was nearly in all points in direct oppofition to his- 
 practice, for he devoted his life almoft entirely to portrait-painting ; yet in his difcourfes, 
 after having difcriminated the grand from the fubordinate ftyles, and aflerted that, 
 the pretenfions of the profeflbr of the latter to the name of painter, are juft what 
 the epigrammatift and fonnetteer have to the title of poet, he fays, " In the fame rank, 
 or perhaps lower, is the cold painter of portraits." For this dereliction of his theory, 
 he has, when it was hinted to him, been heard to make two excufes : Firft, " that he 
 adapted his ftyle to the tafte of his age." But ought not a great man, placed at the head 
 of the art, to endeavour to lead and improve the tafte of the public, inftead of being 
 led and corrupted by it? Secondly, u that a man does not always do what he would, 
 but what he can." This, whatever truth there may be in it, certainly comes with an ill 
 grace from the mouth of one who conftantly and confidently maintained in his writings, 
 " that by exertion alone every excellence, of whatever kind, even tafte, and genius itfelfj. 
 " might be acquired." 
 
 The fact is, perhaps, that he never truly felt the excellence of the grand ftyle, of which 
 his difappointment at the firft fight of the works of Raftaelle in the Vatican, in addition 
 to his violent oppofition to it in his practice, is a ftrong proof. He wrote from his 
 head, but he painted from his heart ; and the world probably lofes nothing by his not 
 having had an opportunity of putting his refolution in practice, .of adopting the ftyle 
 of Michael Angelo, could he have been permitted to begin the world again j a declaration 
 made evidently without a proper appreciation of his powers, which do not at all appear to 
 have been calculated for excelling in that ftyle. 
 
 His difcourfes are written in an eafy, agreeable manner, and contain many juft obfer- 
 vations, much excellent criticifm, and valuable advice ; but being undertaken before 
 he had profoundly confidered the fubject, they are frequently vague and unintelligible, 
 and fometimes contradictory. 
 
 Jonathan RICHARDSON. 
 Painted Portraits* 
 
 DIED I745, AGED 80. 
 
 This artift was undoubtedly one of the beft Englifh painters of a head, that hai 
 appeared in this country. There is ftrength, roundnefs, and boldnefs in his colouring ; 
 but his men want dignity, and his women grace. The good fenfe of the nation is chai- 
 racterifed in his portraits. He lived in an age when neither enthufiafm nor fervility were 
 
 predominant : 
 
R I c 
 
 C 821 ] 
 
 R I C 
 
 predominant: yet with a pencil fo firm, poffefled of a numerous and excellent collection 
 of drawings, full of the theory, and profound in reflections on his art, he drew nothing 
 well below the head, and was void of imagination. His attitudes, draperies, and back- 
 grounds, are totally infipid and unmeaning; fo ill did he apply to his own practice the 
 fagacious rules and hints he bellowed on others. Though he wrote with fire and judg- 
 ment, his paintings owed little to either. No man dived deeper into the inexhauftible 
 ftores of Raphael, or was more fmitten with the native luftre of Vandyck ; yet, though 
 capable of tafting the elevation of the one and the elegance of the other, he could never 
 contrive to fee with their eyes, when he was to copy nature himfelf. One wonders that he 
 could comment their works fo well, and imitate them fo little. 
 
 Richardfon was born ahout the year 1665, and, againft his inclination, was placed by 
 his father-in-law apprentice to a fcrivener, with whom he lived fix years, when obtaining 
 his freedom by the death of his matter, he followed the bent of bis difpofition, and at twenty 
 years old became the difciple of Riley, with whom he lived four years, whofe niece he 
 married, and of whofe manner he acquired enough to maintain a folid and lading reputation, 
 even during the lives of Kneller and Dahl, and to remain at the head of his profeffion when 
 they went off" theftage. He quitted bufinefs himfelf fome years before his death ; but his 
 temperance and virtue contributed to protract his life to a great length in the full enjoy- 
 ment of his underftanding, and in the felicity of domeftic friendftiip. He had had a paralytic 
 ftroke that affected his arm, yet never difabled him from his cuftomary walks and exercife. 
 He had been in St. James's Park, and died fuddenly at his houfe in Queen-fquare on his. 
 return home, when he had pafled the eightieth year of his age. He left a fon and four 
 daughters, one of whom was married to his difciple Mr. Hudfon, and another to Mr. Grigfon r 
 an attorney. The tafte and learning of the fon, and the harmony in which he lived with 
 his father, are vifible in the joint works they compofed. 
 
 The fale of his collection of drawings, in February 1747, lafted eighteen days, and 
 produced about 2060I. his pictures about 700I. Hudfon, his fon-in-law, bought many 
 of the drawings. After the death of the fon in 1771, the remains of the father's col- 
 lection were fold. There were hundreds of portraits of both, in chalk, by the father, 
 with the dates when executed ; for, after his retirement from bufinefs, the good old man 
 feems to have amufed himfelf- with writing a fhort poem, and drawing his own or fon's 
 portrait every day. The fon, equally tender, had marked feveral with expreflions of 
 affection on his dear father. There were a few pictures and drawings by the fon, foe 
 he painted a little too. 
 
 Samuel SCOTT. 
 Painted Sea-pieces and Views,. 
 
 DIED I772, AGED — . 
 
 He was not only the firft painter of his own age, but one whofe works will charm in 
 every age. If he was but fecond to Vandervelde in fea-pieces, he excelled him in variety, 
 and often introduced buildings in his pictures with confummate fkill, His views of 
 
 5 London- 
 
T A V 
 
 [ 822 J 
 
 V I A 
 
 London-bridge, of the Quay at the Cuftom-houfe, &c. were equal to his marines, and 
 his figures were judicioufly chofen and admirably painted; nor were his warned drawings 
 inferior to his finifhed pictures. Sir Edward Walpole had feveral of his largeft and moft 
 capital works. The gout haraffed and terminated his life, but he had formed a fcholar 
 that compenfated for his lofs to the public, Mr. Marlow. He left an only daughter by 
 his wife, who furvived him till April 1781. 
 
 TAVERNER. 
 
 Painted Landfcape. 
 
 This artifl was a proctor in the Commons, and painted landfcape for his amufement, 
 but would have made a confiderable figure amongft the renowned profefTors of the art. 
 The Earl of Harcourt and Mr. Fr. Fouquier have each two pictures by him, that muft 
 be miflaken for, and are worthy of Gafpar Pouffin. 
 
 Joseph V E R N E T. 
 
 Painted Landfcape. 
 
 DIED I786, AGED 77. 
 
 This artifl was of the French fchool, and one of the painters who have done honour to 
 it, in an inferior way; he was born at Avignon in 17 12. He rendered himfelf famous 
 by his fea-pieces, and his landfcapes compofed from fcenes in Italy. He pafled 
 many years at Rome, where his works, which were fought after by foreigners, were 
 held in eftimation by the Italians themfelves, who feemed to reckon him among the 
 number of their artifts. In his landfcapes, which were moderately diverfified, he 
 difplayed the charms of nature, without fervilely copying her ; he united goodnefs of 
 effect with what is termed truth of colouring; and gave an animation to his figures 
 which may be faid to be a diftinguifhing mark of his works. His reputation caufed him 
 to be fent for to France by Louis XV. to paint views of the ports of that country ; 
 unpleafing works in appearance, like all thofe which fetter the genius of artifts, but in 
 which he contrived to produce a finking and picturefque effect, though he adhered 
 minutely to the exact representation of his objects. Having finifhed this tafk, which 
 gained him frefh applaufe, he refumed his firft kind of painting ; and if we confider the 
 pieces he executed at Paris, it would be faid, that he had ftill before his eyes, as 
 objects of his ftudies, the fame countries which had formerly infpired.him. 
 
 He continued to work till the latter end of his life, without either his body, his mind, 
 his cheerfulnefs, or his talents, appearing to be affected by the attacks of old age ; and 
 he died at Paris, at the age of 77. 
 
 Dominiqjje Marie V I A N I, 
 
 Of the Lombard fchool, born at Bologne, in 1668, was the difciple of his father. He 
 attempted the manner of Cignani and of Guido. He had grace and delicacy in his 
 
 2 ■ drawing, 
 
W I L 
 
 C 823 ] 
 
 W I L 
 
 drawing, and produced a good effect. His ftyle of painting was agreeable j he had a 
 broad manner, and a grandeur of compofition. He aimed at a diffufe and luminous colour- 
 ing, and has often fallen into a fady and monotonous one. He died in 171 1, aged forty- 
 three years. 
 
 Richard WILSON. 
 Painted Landfcape. 
 
 DIED 1782, AGED 68. 
 
 Wilfon was a native of Wales, on which country he conferred honour by his extraor- 
 dinary genius. It is faid that he began his career as a portrait-painter, but with a medio- 
 crity that afforded no luminous hopes of excellence. A fmall landfcape, however, of this 
 artift, executed with a confiderable portion of freedom and fpirit, carnally meeting the 
 eye of Zuccarelli, fo pleafed the Italian, that he ftrenuoufly advifed him to follow that 
 mode of painting, as moft congenial to his powers, and therefore molt likely to obtain for 
 him fame as well as profit. 
 
 The flattering encomium from an artift of Zuccarelli's knowledge and eftablifhed 
 reputation, produced fuch an influence on Wilfon, as to determine him at once to turn 
 from portrait to landfcape, which he purfued with vigour and fuccefs. To this 
 fortunate accident is owing the fplendor diffufed by his genius over this country, 
 and even over Italy itfelf, whofe fcenes have been the frequent fubjects of his pencil. 
 Sighing for claflic ground (for Wilfon poffeffed a cultivated tafte), he vifited Italy, where, 
 uniting afliduity to enthufiafm, he improved himfelf, labouring for fome time without 
 obfervation, and confequently unattended by emolument. Confcious of abilities, and too 
 proud to folicit patronage, he lived on a trifle, but on that trifle, with a philofophic 
 happinefs, founded on the fpirited idea of independence : thus, fcorning to folicit a com- 
 miflion for his pencil, he refigned it entirely to its merits, to obtain for him his daily 
 bread. It happened that Vernet (who was at the fame time at Rome, and in the zenith 
 of his reputation) vifited Wilfon's painting room, and fmitten with the merits of one of 
 his landfcapes, begged to have it in exchange for one of his own. Wilfon readily agreed 
 to the flattering propofal, and delivered his performance, which the French artift generoufly 
 exhibited to his vifitors, and, what is extraordinary in the hiftory of man, recommended 
 a rival to their favour. 
 
 It may be faid of this artift, with great truth, nil molitur inepte. His tafte was fo exqui- 
 fite, and his eye fo chafte, that whatever came from his eafel bore the ftamp of elegance 
 and truth. The fubjects he chofe were fuch as did a credit to his judgment. They 
 were the feleclions of tafte ; and whether of the Ample, the elegant, or the fublime,^they 
 were treated with an equal felicity. Indeed, he poffeffed that verfatility of power, as to 
 be one minute an eagle fweeping the heavens, and the next, a wren twittering a fimple 
 note on the humble thorn. 
 
 His colouring was in general vivid and natural; his touch, fpirited and free; his com- 
 pofition, llmple and elegant; his lights and (had ows, broad and well diftributed; his middle 
 
 tints 
 
W I L 
 
 [ 8*4 ] 
 
 W I L 
 
 tints in perfect harmony, while his forms in general produced a pleafing impreflion, 
 Wilfon has been called the Englifh Claude; but how unjuftly, fo totally different their 
 ftyle ! To draw a parallel between the two artifts, we fhould fay, that the Frenchman 
 too often fatigues by the detail : he enters too far into the minutiae of nature,— -he painted 
 her littlenefses. Wilfon, on the contrary, gives a breadth to nature, and adopts only 
 thofe features that more eminently attract attention. Claude, proud of mewing to the 
 world the truth of his eye, in regard to the aerial perfpective, produces a number of 
 petty parts, paltry projections, fuch as hedges, banks, hillocks, &c. to prove his power 
 in a certain department of painting, which, though far from contemptible, is very diftant 
 from the higher orders of the art. Claude introduces, at times, groups of unmeaning 
 and uninterefting figures ; while Wilfon introduces a paucity, but fuch as are not only 
 appropriate to the fcene, but form a part of the compofition. The mind of Wilfon was 
 that of a elafiic; the mind of Claude, of a mechanic, dead to the energies of claffic fenfibi- 
 lity. The pencil of Claude was capable only of defcribing the general appearances of 
 nature ; that of Wilfon, to clothe them with elegance and grandeur. Claude, poflefllng 
 no abftract idea of beauty, was confined to the individual merit of the fcene; Wilfon, on 
 the contrary, gifted with the charming Ideal, could fafcinate by combination. Claude 
 was a pretty, fimple, country girl ; Wilfon was a beauty of a higher order, commanding 
 the graces, and uniting them to fimplicity. Claude fometimes painted grand fcenes, but 
 without a mind of grandeur; Wilfon, on the contrary, could infufe a grandeur into the 
 meaneft objects. Claude, when he drew upon the bank of his own ideas, was a mere 
 caftrato in the art ; witnefs -the landing of iEneas in Italy. How poverty-ftruck the 
 fcene ! — an enterprize deftitute of motion — a few clumfy veffels, with a few figures, 
 more refembling Dutch hoys unlading at a London wharf, than mips arrived with an 
 army, to form the Roman Empire, and give a race to immortality. Wilfon, on the 
 contrary, was a Hercules. When his fubject was grand, he clothed it with thunder : 
 witnefs his Celadon and Amelia, his Niobe, &c. To compare their works that demanded 
 imagination, were to draw a parallel between ftrength and imbecility, the two miferable 
 ftatues of Johnfon and Howard in St. Paul's Cathedral, and the labours of Praxiteles. 
 Claude was rather the plain and minute hiftorian of Landscape ; Wilfon was the Poet. 
 
 It is to be regretted, that Wilfon and Reynolds, the two Leviathans of the art, and 
 congenial in their painting powers, mould have entertained a jealoufy of each other. But 
 a coldnefs, bordering on contempt, betrayed itfelf too often in both ; in fhort, they could 
 fcarcely be civil ; witnefs the following little anecdote : At a convivial meeting of the 
 Royal Academicians, Sir Jofhua (who perceived not Wilfon at his elbow), after launching 
 out into encomiums on the merits of Gainfborough, declared that he was the firft land- 
 fcape-painter in England. " Not the firft land/cape-painter," replied Wilfon, " but 
 every judge muft allow Mr. Gainfborough to be the firft portrait-painter." The afler- 
 tions of both were deftitute of candour and truth ; at the fame time it muft be •confefled, 
 that Gainfborough's orb moved in a fphere not much inferior to theirs. 
 
 It 
 
woo 
 
 [ 825 ] 
 
 W O R 
 
 What a pity, that his prefent Majefty, who pretends to fome little knowledge in painting, 
 fhould be fo fafcinated by high-finiihing, fan-painting, the fmooth Birmingham-waiter 
 glu e, the pigmy efforts of the art, as to be fo totally unaffected by the powers of thofe 
 giants, Reynolds and Wilson, as to profcribe the broad and vigorous efforts of their 
 pencils, and forbid their works an entrance into his palaces ! What a triumph for the 
 fhades of the Medicis, the patrons and idolaters of Michael Angelo and Raphael ! What 
 a pity, that the patronage which might have foftered the breed of eagles, fhould have 
 perverted the bleffing to the fupport of hedge-fparrows and tom-tits ! But the clown in 
 a pantomime, fwallowing a monftrous carrot, pofTefles, unfortunately, more charms for 
 certain taftes, than the nobleft images of Shakefpeare. Such errors may be lamented, 
 but when will they be reformed l—ghiod petis ejl nufquam! 
 
 John WOOTTON. 
 Painted Horfes, Dogs, and Landfcapes. 
 
 DIED I765. 
 
 This artift was a fcholar of Wyck, a very capital mafter in the branch of his profef- 
 fion to which he principally devoted himfelf, and by which he was peculiarly qualified to 
 pleafe in this country ; I mean, by painting horfes and dogs, which he both drew and 
 coloured with confummate fkill, fire, and truth. He was firft diftinguifhed by frequenting 
 Newmarket, and drawing race-horfes. The prints from his hunting-pieces are well 
 known. He afterwards applied to landfcape, approached towards Gafpar Poullin, and 
 fometimes imitated happily the glow of Claude Lorraine. In his latter pieces the leafage 
 of his trees, from the failure of his eyes, is hard, and too diftin&ly marked. He died at 
 his houfe in Cavendifti-fquare, which he built, and had painted with much tafte and 
 judgment. His prices were highs for a fingle horfe he has been paid forty guineas, and 
 twenty, when fmaller than life. 
 
 • Thomas W O R L I D G E. 
 Painted Portrait. 
 died 1766. 
 
 This artift for the greater part of his life painted portraits in miniature: he afterwards, 
 with worfe fuccefs, performed them in oil j but at laft acquired reputation and money by 
 etchings, in the manner of Rembrandt, which proved to be a very eafy talk, by the' 
 numbers of men who have counterfeited that mafter fo as to deceive all thofe who did not 
 know his works. Worlidge's imitations and his heads in black-lead have grown 
 aftonifhingly into falhion. His beft piece is the whole length of Sir John Aftley, copied 
 from Rembrandt: his print of the theatre at Oxford and the act there, and his ftatue of 
 
 5 M Lady 
 
WOR 
 
 [ 826 ] 
 
 Z I C 
 
 Lady Pomfret's Cicero, are very poor performances. His laft work was a book of gems 
 from the antique. He died at Hammerfmith, though latterly he chiefly refided at Bath. 
 
 James WORSDALE. 
 Painted in Crayons. 
 
 DIED I767, AGED . 
 
 This painter would have been little known, had he been diftinguifhed by no other 
 talents but his pencil. He was apprentice to Sir Godfrey Kneller, but marrying his 
 wife's niece without their confent, was difmiffed by his mafcer. On the reputation 
 however of that education, by his finging, excellent mimickry and facetious fpirit, he 
 gained many patrons and buiinefs, and was appointed naafter-painter to the Board of 
 Ordnance. 
 
 Christian Frederic ZINCKE. 
 
 Painted in Enamel. 
 died 1767. 
 
 This artift was born at Drefden, about 1684, and came to England in 1706, where he: 
 ftudied under Boit, whom at length he not only furpalTed, but rivalled r*etitot. There is- 
 a head of Cowley by him, after Sir Peter Lely, in the poUeflion of Sir Hor. Walpole, 
 which is allowed to excel any fingle work of that charming enameller. The impailloned 
 glow of fentiment, the eyes fwimming with youth and tendernefs, and the natural fall of 
 the long ringlets that flow round the unbuttoned collar, are rendered with the moft 
 exquifite nature, and finifhed with elaborate care. For a great number of years 
 Mr. Zinckehad as much bufinefs as he could executes and when at laft he railed his price 
 from twenty to thirty guineas, it was occafioned by his defire of leflening his fatigue, for 
 no man, fo fuperior in his profeflion, was lefs intoxicated with vanity. He was particu- 
 larly patronized by the late King and Queen, and was appointed cabinet-painter to the 
 late Prince of Wales. Her Royal Highnefs Princefs Amelia has many portraits of the 
 Royal Family by him of a larger than his ufual fize. The late Duke of Cumberland 
 bought feveral of his beft works, particularly his beautiful copy of Dr. Meade's Queen 
 of Scots, by Ifaac Oliver. He made a fhort viflt to his own country in 1737 j and about 
 1746, his eyes failing, he retired from bufinefs to South-Lambeth, with a fecond wife, 
 by whom he had three or four children. After his quitting bufinefs, Madame Pompadour 
 prevailed upon him to copy in enamel a picture of the King of France, which fhe fent 
 ©ver on purpofe. 
 
REFLECTIONS 
 
 ON THE 
 
 PRESENT STATE 
 
 OF THE 
 
 ART OF PAINTING IN ENGLAND. 
 
 Br JAMES BARRY, Ess^ R. A. 
 
 PROFESSOR OF PAINTING TO THE ROYAL ACADEMY. . 
 
 In a Letter to the Dilettanti Societt. 
 
 HP 
 
 JL HOSE who go no farther than mere Dilettantifhip, may well laugh at all the fufs 
 about this new noftrum, this Venetian fecret of Painting. Such a concurrence of ridi- 
 culous circumftances, fo many, fuch grofs abfurdities, and fuch bufy induftrious folly, 
 in contriving for the publicity and expofure of a quacking, difgracefui impofture, is, I 
 believe, unparalleled in the hiftory of the art. I fhould laugh too, were I not withheld by 
 confiderations for the reputation of the country, of the Englilh School of Art, for the 
 character of the Royal Academy, and for the fate of its poor pupils, now fent adrift to 
 fearch out for themfelves that true Venetian Art of Painting, which muft not be taught 
 them, as the Prefident and fo many of the Academicians are each of them bound (moft 
 fovereignly ridiculous) under a forfeiture of £.200 to keep it fecret. Mr. Malone too, 
 the editor of this pofthumous and complete edition of Sir Jofhua Reynolds's writings: 
 by what ridiculous or unlucky fatality has this publication been referved for the very week 
 of the opening of the Exhibition, in order to ferve as an opportune and moft eclatic 
 advertifement to ufher this contemptible impofture to the public notice ? It is to be 
 regretted, that the procraftination which fo long withheld thefe papers of Sir Jofhua from 
 the public, had not been difcreetly extended a little further to the opening of the Exhibition, 
 as what Mr. Malone then witnefled, even on the firft day's expofure of this noftrum at 
 
 5 M 2 the 
 
[ 828 ] 
 
 the Exhibition dinner, would have faved him the ———I will not give it a name, but it 
 would have faved him from being fo far over-reached as to infert the fuppofititious hiftory 
 of this contemptible quackery into his Life of Sir Jofhua, with the additional egregious 
 nonfenfe of a lamentation for its unfortunately having efcaped his numerous refearches. 
 Mr. Malone ought to have been aware, that colouring was the forte of his friend ; that the 
 Infant Hercules, the Tragic Mufe, the Dido, the Iphigenia, and many others of his pictures,, 
 afford convincing and glorious teftimony that Sir Jofhua well knew how to employ as 
 much of the Venetian manner of colouring as fuited his own views of the art, founded as 
 they wifely were upon the public expectations, now near the clofe of the eighteenth century, 
 which would naturally expect and demand that excellent mode of practice in colouring 
 fhould now be united with the other admirable qualities and perfections of art, in which 
 the painters of the old Venetian fchool were but little and poorly practifed. 
 
 It would have been of much more utility to art, and to the credit, future peace, and 
 efficiency of the Academy, had Mr. Malone inferted -the notes Sir Jofhua made of thofe 
 difputes which occafioned his refignation of the Prefidency, and which, after his return 
 to it, full continued, fo as to incline him to refign a fecond time, complaining that he felt 
 himfelf retrained by a low politic combination in the Academy, which would not fuffer the 
 inftitution to be made of that importance and advantage to the public, which was fo eafy 
 to effect with a little elevation of mind. If he had made this fecond refignation, as he 
 was fo inclined, and thought himfelf obliged to do, the whole matter of difference had been 
 publifhed by himfelf j and as he neither wanted the penetration to invefligate, nor the 
 temper to manage it, probably it would not have been the leaft ufeful of his literary pro- 
 ductions, and would now contribute not a little to weed out that accurfed evil which had 
 given him fo much trouble, and which remains ft 1 11 in the Academy in greater vigour 
 than before. I feel the more concern in this matter, as it was at my entreaty this fecond 
 refignation did not take place, on the night of the Council for fettling the invitations to 
 the laft Exhibition-dinner before his death : it is wonderful that Mr. Malone, notwith- 
 ftanding his knowledge of thefe differences, and the difficulty that he, and the other 
 executors of Sir Jofhua, had to prevail with this Cabal even to fuffer his coffin to be laid 
 out in the Academy on the day of his funeral :* — it is, one cannot help obferving, moft 
 ftrange and unaccountable, that after all this Mr. Malone fhould not only have made fo 
 little mention of thefe differences, but that he fhould fuffer himfelf to be fo far mifled by 
 the cunning and plaufibilities of fome of the members of this very Cabal, as thus to 
 bemire his Life of Sir Jofhua, by making it ferve as the advertifement to trumpet the 
 importance of this pretended difcovery, in the fearch of which his friend had been, as he 
 
 fays, 
 
 * The odious difference refpefling the funeral of Sir Jofhua, was, on the part of the Academy, managed entirely by the 
 Cabal who governed in the Council ; and the letters that paffed on that occafion between Sir Jofhua's Executors and the 
 Council have perhaps been f uppreffed, as I could not obtain a light of any thing relating to this matter when I called for 
 it at the General Meeting of the Academy, eager as I was to fee, and that the Academy fhould fee, a flinging letter 
 which Mr. Metcalf, one of thofe Executors, told me he fent on tbjtt occafion. 
 
[ 829 ] 
 
 fays, all his life, labouring without effect. But it is of no avail, mere lofs of time, and 
 unwifely, unprofitably cultivating vexation, thus to trouble ourfelves about what is done 
 and paffed. Better to look forward, and endeavour to obtain fome preventive, that any 
 fuch fimilar difgraceful illufions fhould not any more be obtruded upon the pupils of the 
 Academy and the public ; and then, after all, it will have happened well, if our recent 
 fhame, and the difgrace which muft follow this pretended Venetian bufmefs in the eyes of 
 ftrangers, fhould at 1 aft roufe and ftimulate us to take fome little pains in obtaining a 
 remedy fo defirable and fo ncceffary. 
 
 No intelligent artift who has feen and ftudied Titian's moft Giorgionefque picture of 
 St. Mark, in the facrifty of the church of the Salute at Venice, his Chrift crowned with Thorns, 
 in the facrifty at Milan (but now at Paris), and many other of his genuine, untouched, 
 unadulterated works, can for a moment doubt or hefitate to fubfcribe to all that has been 
 faid reflecting his fuogo, fapidity, his flow of well-nouriftied, rich, harmonious colour: 
 the landfcape back-ground alfo of his St. Peter Martyr, and many of his other pictures, 
 are fully adequate to our higheft expectations from his reputation of the greateft of all 
 landfcape-painters ; and it is impofiible there fhould be any difference of opinion or hefi- 
 tation about thefe matters at Venice. But here in London, one feels fo much embarraffed 
 to point out any thing illuftrative and worthy the reputation of this great colourift, either 
 in the way of figures or landfcape, that for the moft part and generally thofe Titianefque 
 qualities are better fought for in the long and uninterrupted chain of the great fucceflbrs 
 of the Venetians, in Rubens, Joardans, Rembrandt, and Vandyk; it is often found, and 
 in a high degree, in Reynolds and Greuze, and always in the finimed pictures of Willbn, 
 whofe landscapes afford the happieft illuftration of whatever there is of fafcinatino;, rich, 
 precious, and harmonious, in the Venetian colouring, both as to hue and arrangement. 
 Claude, who was near a century later than Titian, as far as he goes, and he goes all the 
 length in colouring, leaving his timidity and neatnefs out of the queftion, his hues and 
 arrangement are perfectly Venetian j and leaving out alfo the fuperior dignity and vigour 
 that always accompany whatever Wilfon has done, yet, in the mere value and arrangement 
 of tints, his works have incontrovertibly more of Claude, than', I was going to fay, any 
 thing we have to fhew of Claude himfelf. 
 
 After a lapfe of now near three hundred years, there will be no end to litigation and 
 criticifm refpecting the originality of pictures. Let us but reflect upon the acknowledged 
 inequalities and different degrees of felicity and fuccefs that unavoidably muft ever be 
 found in the works of all artifts, even the greateft, and the different degrees of merit in 
 the multitude of fucceeding artifts who imitated and copied them ; reflect alfo on the 
 calamitous intervention of the race of picture-cleaners, on what they neceffvrily take 
 away in cleaning and lifting off the coats of varnifh, that may have been occafionally and 
 indifcreetly put on in fuch a long tract of time, according to the whims of the feveral 
 poffeffors ; and alfo, what thefe cleaners afterwards add in the way of refrefhing, reftoring, 
 and re-painting i and that, by an unavoidable unlucky fatality, it has happened that the 
 
 picture* 
 
[ 8 3 o ] 
 
 picture- of thofe very artifts who more peculiarly devoted themfelves to the colouring part, 
 have (as greater objects of temptation for meddlers, though more liable to be injure J) 
 more than any others fallen under the contamination of thofe mifcreant picture-cleaners, 
 or rather defacers, who, like a peftilential blaft, fweep away every veftige of the priftine 
 health and vigour of well-nourifhed tints, leaving nothing to remain but a hoary meagre- 
 nefs and decreptitude : all thefe coniiderations, taken together, muft furely make it more 
 eligible (in fpeaking of old pictures) to confine our affirmation rather to what is worthy of 
 an ancient painter, than to what is really the work of his hand. .As to that bufinefs of 
 picture-cleaning, although it may a little interrupt the matter in hand, yet, as it may be 
 of ufe to pufh our remarks on this picture-defacing a little farther, I {hall, as every 
 opportunity fhall be laid hold of that may help to interrupt the growth and continuance 
 of fuch an evil, here infert the following pafTage from my Lecture on Colouring, read in 
 the Academy. 
 
 But the picture of the Cornaro family, at Northumberland-houfe, has unfortunately 
 fome years fince been fo re-repainted, that Titian and his admirers muft difown it; and 
 fomething fimilar is reported of Vandyk's famous picture of the Pembroke family at Wilton. 
 Surely there are fome right, well-grounded claims on a celebrated work, as well as thofe 
 of the proprietor: the mere purchafe or poifeffion does not give a title to the liberty 
 of deftroying it ; and although the public and the lovers of art cannot interfere to prevent 
 the poflefTor of an efteemed ancient work from foolifhly employing picture-cleaners to 
 deface, under the pretext of cleaning and repairing it, yet the execration of all intelligent 
 people muft inevitably follow fuch a procedure, in proportion to the eitimation of the 
 work thus loft to the public ftock. The picture, when brought home from thefe cleaning 
 defacers, appearing new, frefh, and altogether different from the ftate in which it was 
 carried out; the foolifh proprietor is taught to believe wonders had been done, and pays 
 accordingly. I fhall never forget the fhocking fpectacle of a picture of Claude Lorraine, 
 which I faw at the houfe of one of thofe operators (Spiridone Roma, dead fome years fince), 
 where the fine patena, all the thin oleaginous pafTages, delicate tints and touches, which con- 
 ftituted the beauty, grace, and finifh of the work, were not only partially carried off by the 
 valuable fecret of a fluid made ufe of in what he called cleaning, but where even the very 
 imprimatura, or ground, was in many places apparent, and confequently difcharged from 
 the colours which formed Claude's picture. What he was to do afterwards with this 
 chaos in repairing and reftoring, could be only in proportion to his own wretched lkill as 
 a landfcape-painter. Titian, Rubens, Vandyk, or any other great colourift, may with advan- 
 tage retouch and complete any work of their fcholars, or other inferior artift, by fcumbling 
 over, tinting, and uniting the whole ; but it would be ridiculous to expect any good 
 from the converfe of this: and yet what is the bufinefs of thefe picture-repairers, but this 
 converfe, more and more, nay infinitely degraded ? as thefe unfortunate, though impudent 
 people, for the moft part, can do nothing of their own, and muft fubiift by effrontery, 
 noftrums, and deception. But as fomething may be ufefully done in the defirable endeavour 
 
 to 
 
[ 83' ] 
 
 to preferve celebrated works of the old painters, I fliall take this occasion to mention an 
 excellent practice in ufe at Rome, which affords all that can be defired on this head, as 
 it religioufly and wifely refpedts and leaves untouched whatever there is remaining, and 
 only attempts fo to repair the parts which have perifhed, as to prevent their offenlive or 
 difagreeable appearance. 
 
 When I was at the Palace Borghefi, copying Titian, there were two Romans, old men 
 and brothers, who were employed by the Prince in repairing his pictures. I had a fair 
 opportunity of infpedting the procefs of thefe worthy old men, as they made no myftery 
 of it, but carried on their work in the fame rooms where 1 was employed with the other 
 ftudents, Italians, French, and Germans. The firft attention was to examine and 
 repair the attachment of the picture to the canvas on which it was painted, and to line it, 
 if neceffary; they next fo bedded the picture as to prevent its cracking when they wiped 
 and cleaned away the dirt collected on its furface. Their next bufmefs was the chief 
 operation, which consisted of balls of different colours, ground up to the Consilience of 
 glazier's putty, portions of which, with knives exactly refembling thofe ufed by glaziers, 
 they mixed properly, fo as to correfpond with the colours of the parts in contact with the 
 fcaled or broken places which they thus filled up, afterwards carrying this blunted knife 
 over the edges, and wiping away any thing that might have foiled the found and perfect 
 places of the picture. Thus all was preferved that could be preferved, and the repairs, 
 whether well or ill conducted, were at worft of little importance, as they did not interfere 
 with thofe perfect and found parts. It is unneceffary to fay more on a matter fo obvious, 
 than that I am happy to rely on the zeal and public fpirit of many of my hearers for the 
 fpreading of this falutary practice, and interfering wherever they may have any influence 
 to prevent the further destruction of ancient pictures. — We fhall now return to our 
 fubject, &c. 
 
 I have long feen, and from my fituation as Lecturer on Painting in the Academy, have - 
 often preffed it on the attention of my hearers, that without fome proper public collection of 
 ancient art, to refer to occasionally, both our pupils and the public would be in the fame 
 bewildered fituation, fo emphatically alluded to in the New Teftament, of the people 
 without guides, expofed to every imposture of " Lo! here is Chrift; lo ! there is 
 Chrift."— -This is Titian's manner. — No, that was his manner. — Old Giacomo Baffano,. 
 did he do his works after this or after the other way ? — How far is fcumbling neceffary in 
 the production of the true Venetian tones? — Upon what bafis, and how much, and what 
 fhould be done before, after it, or with it ? There is no need to mention that difcernment 
 and tafte muft govern in the application and conduct; but with refpect to the mechanic 
 defederatum, thefe questions go all the length; and to obtain fatisfactory oracular anfwers, 
 we had beft recur to the familiar infpection of the original pictures of thefe ancient mailers y 
 a nd as nothing elfe can fatis factor ily determine refearches of this kind, and prevent or 
 detect miftakes or imposition fo well as this frequent familiar infpection, I could much wiflv 
 that what I have fo often had occasion in the Academy to urge on this fubject, was known 
 2 to 
 
C 8 32 ] 
 
 to his Majefty; for this end I brought it forward, as it is fo much and fo eafdy in his 
 power to gratify the wifhes of the public, and complete the views of his own Inftitu- 
 tion, by gracioufly conferring on them this remaining favour. His royal countenance, 
 and a very fmall matter, would be fuiHcient to begin with. But as I am not likely ever 
 to have the honour of a hearing from his Majefty, and if I had, would, unfortunately 
 for the art and for the country, have probably but little weight, I muft content myfelf, and 
 think it a fufficient difcharge of confcience and duty, to lay the whole matter before you 
 and your friends, who happily can have all the opportunity, weight, and confideration, 
 that is wanting to me. You may then either lay this letter before his Majefty, as a 
 teftimony of the beft difcharge of humble duty within the knowledge of his Profeflbr, or 
 you may put the matter in any other form more agreeable and proper, without any regard 
 to me or what I have written. You will partly fee, by what follows, how long I have 
 laboured under the weight of this bufinefs, how far it has been carried, and through what 
 an ordeal I have pafled : my patience is now quite exhaufted, and almoft like the tra- 
 veller mentioned fomewhere in Horace, who, when with all his pains and care, he could 
 not prevent his afs from continually going to the edge of the precipice, was at laft fo 
 tranfported with rage and indignation, as to ftretch out his hands and pufh him down. 
 Before any fuch matter as this happens with me, I (hall feel happy and delivered from a 
 world of anxiety in placing this bufinefs under the care and direction of the Gentlemen of 
 your Society ; you can eafily manage it, and will henceforward be anfwerable to the art 
 and to the public for its fafety and fuccefs ; carry this point, and all will be done that I 
 wifh done, as, I thank God, there is nothing to afk for myfelf. But as gentlemen like 
 thofe of the Dilettanti Society, pofiefied of all the advantages of education and foreign 
 travel, can want no information from me reflecting the importance, nature, and extent, 
 of that collection of exemplars and materials of information and ftudy, fo abfolutely and 
 indifpenfably neceflary for advancing and perfecting the arts of Painting and Sculpture in 
 a National Academy ; the few Extracts which follow, and were copied from certain 
 parts of my annual Lectures in the Academy, are therefore inferted here merely to fhew 
 my own fenfe of the miferable ftate of our collection, and of what the Academy ftands fo 
 much in need of for the completion of its views. 
 
 In the Difcourfe on Defign, read in 1785, fpeaking of the cafts from the antiques, I 
 found myfelf compelled to obferve upon our " want of public repofitories of art, Royal 
 " or other collections, which might be reforted to occafionally without expence, difficulty, 
 " or lofs of time. Moft of our noble collections are widely feparated from each other, 
 " and buried in the country, where neither the artifts nor the public can derive advantage 
 " from any thing they may happen to contain; without going into details of what might, 
 " and perhaps would be done, if the public fpirit was fairly called forth by fome eminent 
 " example. But there is even fomething in the power of the Academy itfelf; for, by a 
 " proper application of its own funds, a refpectable beginning might be made under its 
 £{ own roof, which in a Ihort time would anfwer the moft extenfive purpofes of utility to 
 
 " the 
 
r s 33 ] 
 
 w the arts, and entertainment to the public. At prefent the materials for obfervation in 
 u the Academy are much too fcanty to afford, even to the Profeffor, any opportunity of 
 w bringing forward with advantage thofe enlarged views of the art that are moft becoming 
 « and worthy the attention of ftudents in the eighteenth century : we have no where 
 « any pidtures of the old fchools, to which the ftudents might be referred for viftble 
 " examples of what they ought to ftudy to acquire, or endeavour to avoid." 
 
 In the Difcourfe on Chiaro-Scuro, the neceffary inveftigation of the fubject in hand 
 led me to obferve, " That I could wim, not only for the fake of the pupils and the public, 
 " but alfo on my own account, that our collection of plafter cafts in the Academy was 
 " more ample. In the number of excellent things that muft be attended to during one's 
 « refidence abroad, the impreflions of many of them will unavoidably not be fo frefh on 
 " the memory after fome years, as to enable a man to fpeak of them with confidence, 
 u more particularly on fuch an occafion as the prefent ; but, from what I recollect of the 
 " happy effects produced by the fkilful arrangement of alto and baffo-relievo, and the per- 
 " fpective of the aerial, as well as lineal, degraduations of the objects in Algardi's famous 
 " work at St. Peter's, in that of Puget at Paris, and fome others, this mode of procefs is 
 " capable of producing the fublimeft and raoft extenfive effects in fculpture. What 
 w fhould hinder that it might not even be affociated with groupes and figures in the 
 « round ? For my own part, I cannot help being ftrongly of opinion, that fuch a fubjedt 
 tc as the Niobe would come upon the eye of the fpectator with a much more collected 
 u force, if treated by a great artift in this way, than in the fcattered manner in which 
 u this compofition appeared in the Villa Medici, &c." And, after fome pages of difcuflion, 
 and a confiderable enumeration of facts refpecting the kinds of fculptured relievo, ancient 
 and modern, I am obliged to conclude the fubject in the following manner. " Any 
 « attempt to reconcile thefe paffages from the ancient writers, with thofe incontrovertible 
 " c< fa£t§ refpecting the ftate of the art, which are fo glaringly teftified in the remains of ancient 
 « baffo-relievo and paintings, is better declined, at leaft for the prefent, as our Academy 
 « is too ill fupplied with materials for obfervation : the miferable beggarly ftate of its 
 " library and collection of antique veftiges, I have fo often had occafion to lament, that it 
 xi is almoft fhameful to mention it to you any more. Good God ! that fuch a thing 
 " fhould be in the centre of the Britifh Empire ! that fo many difficulties fhould lie in 
 " the way of acquiring a fufficient collection, even of plafter cafts, and a place to put 
 " them in, and in fuch a town as London, which in all other refpects is fo tranfcendantly 
 « remarkable for its numerous public hofpitals, and modes of generous provifion for almoft 
 « everv want.of humanity, both of body and mind ! But in the arts there feems a peculiar 
 « curfe — what occafions it ? and does it only arife from that infidious bafe policy which 
 " is employed to prevent ihofe who real'ly know, and could ferve the public, from having 
 # any weight ? and is it from this, that glorious opportunities of public fervice are thus 
 « 4 daily permitted to Aide away without benefit?" 
 
 In February, 1791, the following paffage was inferted in the Difcourfe on Colouring. 
 <* Would to Heaven an opportunity was offered of planting your eafels before fome of 
 
 5 N " bis 
 
C B 34 3 
 
 « his (Vandykes) pictures on tbefe walls! and yet even this would be too limited; and 
 " nothing could have precipitated me on fuch a wifli but my extreme defire, that before 
 « you are let loofe upon the world, it might be in the power of the Academy to afford 
 " you fome, though ever fo little, timely affiftance in this remaining, moft important part 
 " of the art: for really, to make a juft ftatement of our wants, when we confider the 
 " various difpofitions that look for their education in an Academy, more nutriment will 
 " neceffarily be required than any individual model or mode of practice can afford, how- 
 K ever excellent it may be. In the Pope's Academy at Rome, in that of Bologna, at 
 " Venice, and indeed in all places on the Continent, where the education of young painters 
 " is attended to, it is hardly necefTary to employ any further folicitude than merely pro- 
 " viding for the ftudents an opportunity of ftudying the living model and the antiques, 
 " as the churches, and other great collections of pictures, are ever open to them for the 
 " acquifition of the colouring, compofition, and all the other great effentials of painting:. 
 44 but even with all this, there is provided at the Campidoglio, under the fame roof with 
 " the Papal Academy, a moft noble collection of pictures of the old mafters, which,. 
 " whilft it affords a perpetual fource of intellectual entertainment to the public, is a real 
 " fchool of inftruction, where the young painter is enabled to complete and give a finifh 
 " to his ftudies, before he expects to be called upon for the exercife of his abilities in the 
 « fervice of his country. When an inftitution of education is thus honeftly provided for,. 
 " confcience is eafyj every thing human is done, the reft muft be left to Divine Provi- 
 " dence. It would be wafting words to a melancholy purpofe, to draw any parallel between 
 " all thefe happy advantages of the foreign fchools of painting, and the miferable affiftance 
 " our Academy has to offer its pupils. We have nothing of painting to refer them to 
 w without doors ; and it has been wifely obferved by our illuftrious Prefident, that it is 
 " not the wifh of the Academy that the ftudents fliould endeavour to copy or to form 
 " themfelves upon the pictures within. We wifh them to dig in the fame mines where we* 
 w have laboured, to purify the metal for themfelves, and fafhion and work it up for public 
 " ufe, according to the ftrength and peculiar direction of their feveral geniuses, and thus 
 " endeavour to be, not the imitators, but the generous rivals of their predeceflbrs. But 
 <c let us not defpond, the thing is right, and abfolutely necefTary : God will profper it, 
 M and enable the Academy to extricate itfelf from the oftentatious mean appearance of 
 " undertaking more than it performs. His Majefty, our moft gracious Patron, loves the 
 " arts ; the fame beneficent hand that raifed our Academy to a fchool of Draiving> will 
 " not fail to enable it to become really^ and not in appearance^ a fchool of Painting alfo, 
 u The Parliament, the national trujlee, is wife, liberal, and perfectly know what is for 
 " the honour and glory of the country. Painters, completed in their education, will, it 
 " is therefore to be hoped, iffue from this fource to all the parts of the Britifh Empire } 
 u and the collection of old legitimate exemplars, which only can enable the Academy to 
 " perform all this, will not, cannot, be any longer wanting to us. To talk of wanting 
 " room for fuch a collection, is childifh and farcical ; how eafy is it to point outfpace for 
 u it !; But there is no need to wafte words : let me. have the honour of directing your 
 
 " attention 
 
[ 8 35 3 
 
 « attention to a recent event, which now affords an occafion of beginning fuch a 
 « collection with every poffible advantage. A confiderable number of fuch fpecimens 
 " of painting as come immediately within the views of public entertainment, as well as 
 « academical exercife, may now be purchafed j they have been brought together in a 
 « courfe of many years, with great affiduity, and were the conftant objects of ftudy, 
 « affection, and rivalfhip, of a great* man, whom we all know and revere; and whofe 
 « various exertions in the art will long remain the pride and glory of his country. I 
 " will fay no more; but if thefe materials of ftudy fhould be fcattered, what a pity ! 
 " When can we hope that fuch an aflemblage of fo many necefiary requifites of (kill, 
 " means, and inclination, fhould thus fortunately meet together in any man, to make 
 « { fuch a collection again?" 
 
 In December, 1792, at a meeting of the Academicians, called to confider of a fttuation 
 for placing the caft of the Hercules Farnefe, our meeting was in the ground floor, under 
 the coach-way into the fquare, where the ftatue was loofely put together, and fet up in 
 the place where Sir William Chambers, wifhed it to remain. The Prefident, Mr. Weft, 
 and fome of the Academicians, feemed to differ from this opinion, and would have the 
 figure brought up ftairs; but as this feeming was no more than a political manoeuvre 
 which, after fome difcuflion of difficulties, would be ultimately refolved into Sir William's 
 opinion, and as I well knew that Sir Jofhua Reynolds's wifhes, in the charge he had 
 entrufted to me, had no other object: than to obtain the greateft poffible augmentation of 
 our collection of cafts, it appeared to me moft advifable to depart from the letter of his 
 injunction, in order to follow the fpirit of it ; and having therefore prepared the following 
 paper, I read it to the Academy as we ftood before the ftatue. " When Sir Jofhua 
 " Reynolds was confined to his room, a little before his death, he did, in the prefence of 
 cc feveral friends 3 recommend to me to endeavour at perfuading the Academy to have the 
 " ftatue of Hercules brought up ftairs into the plafter room. I promifed him, that 
 " whatever I could do mould be done j but, upon more mature thinking fince, I am 
 " perfuaded that, as his fole object was to obtain fuch an extenfion of our collection as 
 " would be more adequate to the occafions of the Academy, and to this end, wifhed the 
 " figure to be brought up ftairs, though there fhould be no more room to receive any 
 « thing elfe after it ; yet as the following little plan removes Sir Jofhua's difficulty, by 
 " rendering the lower apartments more habitable and convenient, fo as to bring the 
 " ftatue equally into the courfe of academical ftudies, and co-operate more effectually 
 " with his and all our wifhes, by allowing the -moft ample increafe of our collection, I 
 " fhall, Mr. Prefident and Gentlemen, beg leave to fubmit it to your confideration. 
 
 " As the academical repofitory of Grecian examples of art contribute equally to direct 
 " the ftudies of our young artifts, and to invigorate and perfect the tafte of the public, 
 u I move, that if any part of our collection is to be placed in the ground apartments, 
 
 5 N 2 a that, 
 
 * Sir jofhua Reynolds's collection of ancient pictures were fent by him at this rim: to the great Auction Room, in 
 the Hay-market, to be fold by private contract. 
 
C 8 3 6 3 
 
 « that, preparatory to all other confequent confideration, a committee of the Academy be 
 " appointed, in order to confider what will be the beft mode of obtaining a proper, 
 " convenient, and handfome accefs, to this part of our collection in thefe ground apart- 
 " ments. And as no proper accefs can be had to thefe apartments but from the fquare, 
 " I fubmit it to their confideration, whether, at the fame time, it would not be exceedingly 
 " practicable, by- a further extenfion of that ground floor, from the King's ftatue 
 w into the fquare, to obtain a room, even equal to the dimenfions, as to length and' 
 « breadth, of our prefent exhibition room, and without the leaft inconvenience or annoy- 
 " ance of any kind to the other offices in the fquare, fmce it need not rife to any great 
 " height, and would leave an open coach- way on the three fides, double the width of the 
 " Strand at Catherine ftreet, and four times the width at Exeter Change. Our exhibi- 
 " tion room is twenty-two of my paces long; the., fquare is, from the bafement of the 
 « King's ftatue to the foot pavement on the fouth fide, 80 paces long, and 63 from each' 
 " foot-pavement, eaft and weft. The Strand is 19 paces broad from the edges of the/ 
 " foot-way, at Catherine ftreet, and nine paces broad at Exeter Change. 
 
 " By this means the Academy would be enabled to convert fome of its upper rooms' 
 *' into a more becoming extenfion of its library: the paternal care of His Majefty, and 
 " a liberal public, would foon make this library adequate to the occafions of fuch an 
 " inftitution, inftead of the contracted miferable ftate in which it is at prefent. Had we 
 <c but fpace for a few found examples of the pictures of the old mafters, a little time 
 " would foon put it in the power of our ftudents to finifh their education, inftead of 
 f f running loofe upon the public to fubfift,as too many have, by mere drawing and other 
 " contracted methods of art, which muft infallibly refult from ftudies interrupted, not 
 " purfued to the end. With fufficient fpace, and a proper acknowledgment for favours 
 " received, the Academy would not long want a collection of prints equal to that royal 
 " collection of prints in the Rue de Richelieu at Paris. The late Mr. John Barnard 
 <* would, according to very creditable information, have been much gratified in leaving 
 " his. noble collection in this way. An enquiring mind would foon be enabled to take 
 « fuch a view of thefe arts, as the admirable author of the advancement of learning 
 " recommends in thofe other arts which had been the object of his attention ; and on a 
 « view of the whole, it would appear what had been well laboured, what had not, what 
 « was to be followed up, and what to be avoided. It will, furely, be found, upon mature 
 " confideratioij, that the higheft fervice this Academy can render the public, is to be the 
 u happy means of effecting a complete repofttory of all the materials neceflary for fuch' 
 advanced and enlarged art, as is worthy the glory of the nation, and the high fpirit and* 
 «* extended information of the~age we live in. A few artifts, fo equipped, will do the 
 «« country much and real honour } the bulk of thofe we fhall breed without it, will really 
 " be much injured, and with refpect to the views of the age, abortive and ftunted, 
 « obliged to traffic with quackery and fmall ware, illiberal, mifchievous tq each othe^ 
 *f and a difcredit to the inftitution,, 
 
C 837 3 
 
 ec Not a bene. There need nothing to appear in the fquare, but a range of battlements, 
 tl or continued pedeftal, eight or ten feet high, which would afford a moft admirable 
 " oceafion, and in the moft eligible fituation, of effecting that long-wifhed-for repofitory 
 " of thofe honourable teftimonies of public gratitude which, from the experience of the 
 " bell: ages, have been found the trueft incentive to heroic actions. On this battlement, 
 " or range of pedeftals, ftatues of thofe heroes who deferved well of their country might 
 " be erected, at convenient diftances from each other, with a dado of a fmall projection 
 " under the ftatue for a proper inferiptionj and the fpaces between thefe dados or dies*' 
 cc being a little more in length than height, may be ornamented with appofite hiftoric 
 " baffo-relievos, which would open a glorious field of fculpture, for the public enter- 
 " tainment and inftruction, unequalled in Europe. The whole fquare of public offices 
 c< would, with an aumirablefelicity, like another forum of Trajan, feem to have been 
 a built to give it ornament, with this remarkable difference in its favour, that thefe fub- 
 " jedts of Britifti bas-relief, being all near the eye, could be confidered with convenience,.. 
 " pleafure, and utility j all of which is loft to the fpectator, from the elevated fituation 
 " of the bas-reliefs, on- the beautiful column of Trajan, to the deep, never-ceafing regret 
 ** of all lovers of virtu. 
 
 " The entrance to thefe ground apartments might be handfomely contrived to defcend 
 " in the two angles behind the King's ftatue, and fo ornamented as to group and mafs 
 ct fublimely with the ftatue, and ftill further aflbciated with a noble obelifk, or other 
 ** proper ornament between, that might, gracefully and without annoyance, afford the 
 w neceflary communication between the fires below and the external air. It but vurAy h;:p- 
 M pens that fo many fortunate circumftances can meet together, with a felicity fo united 
 " as almoft to appear like magic. 
 
 " Thus this mere extenfion of your ground apartments^ at prefent ufelefs, furnifhing 
 t l the neceffary receptacle for the fine monuments of ancient art, whilft, at the fame time, 
 ** it additionally affords the moft eligible fituation, in the centre of two great cities, and 
 " (which is the character iftic of true tafte) with the leaft conceivable effort and expence, 
 " for another repofitory of monuments ftill more deeply interefting to the art and to the 
 " nation ; plafter cafts of demi-gods and ancient heroes within ; and without, what tile 
 " Britifh empire fhall glorioufly produce of the fame character, in the more durable 
 ** materials of bronze or marble. Gentlemen, you fee evidently the means are in your 
 " power; ufe them, and deferve well of your country." 
 
 Having thus acquitted myfelf of the promife made to Sir Jbfhua, of the duty I owed 
 the Academy, and habituated to the kind of materials I had to work on, it gave me neither 
 furprife nor concern to find the matter got rid of by Mr. Wyatt's obferving, that thrs 
 paper contained fomething which ought not to be loft, that it might hereafter be of ufe, 
 whenever the ground fhould be purchafed between the Academy and Exeter Change. 
 Such a thing might happen, and then we mould want for nothing. As Mr. Wyatt was 
 lately made die- Queen's architect, and was fuppofed to know what would be agreeable, 
 . ' the 
 
[ 8 3 8 ] 
 
 the matter ended without further difcufllon • and, leaving poor Hercules to fcrcen himfelf 
 as well as he could from cold and damps, we went up flairs. 
 
 I fTiall now infert the conclufion of my Ledture on Colouri-ng, as it was read in the 
 Academy in February laft ; and you will, I hope, excufe whatever tautologies may occur, 
 as the nature and circumftances of the cafe made it not only impofiible, but even ineligible, 
 to avoid them. 
 
 " Nothing can be more conducive to the true dignity or worthlefsnefs of a people, to 
 their real happinefs, or real mifery, than the way in which they are employed in 
 " difperfing that wealth, or overplus, which exceeds what is neceflary for the confer- 
 " vation of their exiftence; as it is from this root, or great fource, that public happinefs 
 * c or mifery flows over the land, with an energy and expanfion proportioned to the 
 " quantum of nutriment fupplied. It has accordingly been the leading and principal 
 " object, in all wife and orderly civil eftabliftiments, to take care that fuch an important 
 " and ever-operating agent, as the difFufion of wealth, mould have the moft ufeful, 
 " falutary tendency, or direction. And, as the greateft evils arife from the abufes of the 
 <c beft things, fo it has ever happened, that the finifter, felnfli, wicked direction, and 
 <c application of this public overplus, by the governing power, whether in fpreading 
 " external violence and devastation, or interior corruptions, have ever been the ultimatum 
 " of the public calamity and mifery. This matter may not require much attention in 
 <c countries that afford little more than the means of a bare fubfiftence, but it becomes 
 " of infinite importance in fuch nations as are expofed to a vaft influx of wealth, which 
 " experience has fliewn can never lie dormant; and if it be not employed in arts that 
 " afford occupation, and ufeful intellectual entertainment to the people at large, will 
 " infallibly operate deftructively, and produce fuch a corruption of public principle, as 
 " muff finally end in a worfe than favage ferocity, and the confequent utter fubverfion 
 <c of all civil eftablifhments. 
 
 " Impreffed with this view of things, one cannot, without great fatisfaction, obferve 
 " how much has been wifely done in bringing forward ingenious arts for the entertain- 
 " ment and occupation of the public mind; and this in many of the trifling towns, and 
 ~" beggarly convents on the continent, even circumftanced as thofe places and the times 
 " were, with fuch poor materials of education, and fuch fmall means. What then muft 
 " we think of this great metropolis of the Britifh Empire, furrounded, and having within 
 " its reach, all the cultivation and improved advantages of the eighteenth century ! 
 « How melancholy to reflect, that from all the immenfe wealth which, for a long time 
 " paft, has been accumulated by the induftry, ingenuity, and extenfive commerce of the 
 " country, that, in the fquandering or circulation of fo many millions, fo little has been 
 " done towards the intellectual entertainment of the public, or of pofterity ! With refpect 
 " to the arts, our poor neglected public are left to form their hearts and their un- 
 " derftandings upon thofe leffons, not of morality and philanthropy, but of envy, 
 " malignity, and horrible diforder, which every where flare them in the face, in the 
 
 *' profligate 
 
r 3 39 ] 
 
 u profligate caricatura furniture of print-mop windows, from Hyde- Park Corner to 
 " Whitechapel. Better, better far, there had been no art, than thus to pervert and 
 « employ it to purpofes fo bafe, and fo fubverfive of every thing interefting to fociety ! 
 c< The poor emigrants and foreigners who crowd our ftreets, good God ! what opinion 
 « muft they form of fuch a fcene, whenever they are permitted to reflect, in fome corner 
 « removed from the ftun of carriages full of pageantry, mummery, and diflipation, which 
 " infeft almoft all places ! Thefe ftrangers have here no galleries like the Luxemburgh, 
 K filled with intellectual entertainment, to receive them gratis twice a week ; no library 
 M of prints, like that in the Rue de Richelieu, where they might contemplate whatever 
 « the induftry and genius, the youth, progrefs and perfection, of modern Europe, have 
 " been enabled to add, to every veftige of perfection remaining of all the preceding 
 c< ages and countries.. 
 
 " I had great hopes, about ten years fince, that fomething of this kind would have been 
 " done by the Academy itfelf. About that time there was a great talk in the Academy 
 M of purchafing the eftate belonging to the chartered Society of Artifts, confifting of 
 '* the great rooms and the fpace adjoining, on the oppofite fide of the ftreet, now called 
 " the Lyceum; and Sir Jofhua Reynolds (of glorious memory), our then Prefident, 
 ** generoufly offered to lend the whole, or fuch part of his excellent collection of pictures 
 <( of the old mafters, as we fhould think neceffary for the ftudy of our young artifts, to 
 u complete, as much as may be, the education held out in the Academy, by properly 
 " enabling the ftudents to become painters as well as draughtsmen, and thus happily. 
 " avoiding the abortive way of finifhing their ftudies in the Academy, which at prefent 
 " muft unfortunately be the cafe of too many of them : furely, furely, without fome 
 " timely afliftance of this kind, all our ftudents muft be more or lefs injured, and many 
 " of them ruined for ever. Even in the Papal Academy at Rome, although the ftudents 
 " have, for the colouring and mechanical conduct of their work, the churches to recur to, 
 " ever open and filled, as all the world know, with moft excellent exemplars, yet, in 
 " addition to this afliftance, there is, even under the very roof of their Academy, 
 " provided for their ufe and benefit, the admirable collection of pictures in the 
 " Campidoglio. But, not to ftray from the concerns of our own Academy, this excellent 
 M intention of obtaining a collection had been then carried into effect, had not Sir Jofhua 
 " been too timid, or too fond of quiet (which amounts to the fame), and unhappily 
 " fuffered himfelfand his excellent fcheme to be over-ruled by Sir William Chambers. 
 
 " Were we to lay afide all confcientious difcharge of this truft the Academy has under- 
 " taken, refpecting the education of its pupils and the public, were we even to take no 
 " other than a fordid view of this matter, and confider it in a mere pecuniary light, the 
 " Academy might, if it chofe, be a gainer in the traffic that fuch a procedure would. 
 " occafion; they might, in addition to Sir Jofhua's collection of ancient pictures, and, 
 " in lieu of them, in cafe they fhould be withdrawn, fo contrive the matter as to make it. 
 w eligible for Noblemen, or other pofleffors of pictures of the old fchools, to lend them for 
 5 a given 
 
[ 8 4 o j 
 
 a a given time to the Academy, and by this means afford a (landing Exhibition, perhaps 
 " not lefs profitable than the Panorama, but certainly much more beneficial in the pro- 
 " pagation of good tafte and intellectual fatisfaction. Thus, with their-annually increafing- 
 *' funds, properly difpofed of, the Academy might foon fee itfelf in pofTeffion of fuch a 
 " library of all matters relating to art, and of fuch a collection of plafter-cafts, in the round 
 " and in bas-relief, as would complete all their views of utility refpecting the education of 
 tc their pupils, and the entertainment and information of a.public that, experience has long 
 " fhewn, is too high-fpirited to fail them, or even to be outdone by them on fo generous 
 " an occafion. The want of fuch a collection occafionally to recur to, muft be mortifyingly 
 " felt by every artift who has any thing to do with great undertakings, however formed 
 " and finiflied his education may be : like the neceffary facts which form the tiflue of 
 " hiftory, the want or deficiency in any of them would be a blemifh in the molt excellent 
 <l work, and the more to be regretted as the hiftorian is the more admired for his felicity 
 " and Ikill in conducting all the other parts. The practicability of this fcheme is fo 
 " evident, that it is even matter of wonder that fome of our picture and other dealers in 
 " virtu, have not extended their plans by employing a few thoufands in this way: how- 
 " ever, fuch a fcheme of accelerated, multiplied advantage, is certainly an enterprife 
 <c better calculated for a Society that is eternal, than for a fhort-lived individual, fubject 
 H to fo many contingent interruptions and di fad vantages ; as in a Convent of Friars, or 
 " a Royal or 'National Academy, there would be always exifting a fufficient number of 
 " men in health and vigour to employ their care and attention upon this common 
 " interefl. The endeavour of obtaining for the Academy, and for the Nation, this great 
 u Defideratum of a Public Colleflion^ has for fo many years been uppermoft in my mind, 
 K that it may poflibly run away with me, and carry me further than propriety and tho 
 u occafions require. Relying on your indulgently accepting this excufe, I fhall conclude 
 t{ my obfervations on the theory and practice of Colouring, with," Sic. 
 
 FINIS. 
 
THE 
 
 NAMES of the principal AUTHORS 
 
 WHOSE WORKS HAVE BEEN CONSULTED • 
 
 -Abecedario Pittorico, dal Ant. Or- 
 landi. 
 
 Mufeum Florentinum. 
 Academia Artis Pidloriae, &c. Jo. Sandrart. 
 Le Maraviglie dell' Arte, &c. dal Carlo 
 Ridolfi. 
 
 Le Vite dei Pittori, Sec. di Raf. Soprani. 
 Finezze dei Penelli, da Luigi Scara- 
 muccia. 
 
 Le Vite di piii eccellenti Pittori, di Vafari. 
 Het Schilder Boeck, &c. door Vanman- 
 der. 
 
 Apparato degli Uomini Illuftri della Fer- 
 
 rara, di Agoftino Soprani. 
 Le Pitture di Bologna, &c. di Zanotti. 
 Dialogo della Pittura, Sec. di Lud. Dolce. 
 Trattato della Pittura, &c. di L. da 
 
 Vinci. 
 Verona Illuftrata. 
 iEdes Barberinae. 
 
 Della nobiliffima Pittura, &c. di Biondi. 
 Monumens de Rome, par Raguenet. 
 Indice del Parnaflb dei Pittori, del S. 
 Refta. 
 
 Trattato della Nobilta' del Pittura, dal 
 Alberti. 
 
 Pompe Senefi, dal Padre Azzolini. 
 Dialogue fur le Coloris, par De Piles. 
 
 ConverfationsTur la Connoiflance, &c. par 
 De Piles. 
 
 Raccolta dei Pittori Modenefi, di Vidriani. 
 De Levens-Befchrivingen de Konft Scol- 
 ders, door J. Campo Weyerman. 
 Paflagio per Italia, &c. del Fed. Zucchero. 
 Algarotti on Painting. 
 Anecdotes of Painting, by Vertue. 
 Abrege de la Vie des fameux Peintres, &c. 
 Montefquieu. 
 Letters from the Eaft. 
 Le Vite di Carlo Cignani, e Seb. Ricci. 
 Le Vite de' Pittori Veronefi. 
 Webb on Painting. 
 
 Le Vite dei Pittori, dal Giov. Baglioni. 
 Notizie dei Profeflbri del Difegno, &c. di 
 
 Baldinucci. 
 Vite di Pittori Antichi, &c. da Carlo Dati. 
 Vite di M. Ang. Buonaroti, &c. da Afcanio 
 
 Condini. 
 Richardfoii on Painting. 
 Vite de' Pittori, &c. da Lione Pafcoli. 
 El Mufeo Pittorico, &c. del Don Ant. 
 
 Palomino. 
 Cours de Peinture, par De Piles. 
 Frefnoy and Graham's Lives of the 
 Painters. 
 
 Abrege de la Vie des Peintres, par De 
 Piles. 
 
 a 
 
 Reflexions 
 
C U 3 
 
 Reflexions Critiques, &c. par Du Bos. 
 Ravenna ricerata, &c. da Girol. Fabri. 
 Entretiens fur les Vies des Peintres, par 
 Felibien. 
 
 Ritratti di alcuni celebri Pittori, da Lioni. 
 DeGrpote Schouburghdel Konft Schilders, 
 
 &c. door Ar. Houbraken. 
 Lamberti Lombardi Vita., ab Ub. Goltzio, 
 Felfina Pittrice, &c. dal Carlo Malvafio. 
 Le Vite dei piu infigni Pittori, &c. dal 
 
 Girolamo BarufFaldi. 
 Riftretto delle Gofe Notabili, &c. di Jac. 
 
 Carlieri. 
 
 Viaggio Pittorefco, &c. di Giac. Barri. 
 Bologna Uluftrata, di Ant, Maffini. 
 
 Le Vite dei Pittori, da Bellori. 
 Het Gulden Cabinet, &c. door De Bie 9 
 Vite dei Pittori Pefarefi, di Montani. 
 Trattato della Pittura, daDomen. Bifagna.- 
 Pitture della Citta di Perugia, da Giov, 
 Morelli. 
 
 Libro de la Pintura, del Franc. Pacheco. 
 Acadeoiie des Sciences, &c. par Bullart. 
 Bellezze della Citta di Firenze, &c. di 
 Cinelji. 
 
 Lives of the Painters, in Low Dutch, by 
 
 Van Gool. 
 Lives of the Spanifh Painters.- 
 Cabinet des Singularites, &c. par Le 
 
 Compte. 
 
A Nf 
 
 * EXPLANATION of the TECHNICAL TERMS 
 
 Ufed either by ARTISTS or AUTHORS, on the Subjeft of 
 PAINTING. 
 
 .AeRIAL PERSPECTIVE, is a degradation of the tones of colours, which throws 
 off the diftances of grounds and objects ; and which the judicious artifts practife, by 
 diffufing a kind of thin vapour over them, which deceives the eye agreeably. It 
 Ihews the diminution of the colours of objects, in proportion as they recede from 
 the eye, by the interpofition of the air between the eye and the object, as if the 
 object was feen through a column of air. 
 
 ANTIQUE. By this term is implied and underftood, fuch paintings and fculptures as 
 were made at that period of time, when'thofe arts were in their greateft perfection^ 
 among the ancient Greeks and Romans j from the age of Alexander the Great, to 
 the irruption Of the Goths into Italy, under Alaric, in 400. The term Antique 
 is more particularly applied to the fculptures of the period before mentioned; fuch 
 as ftatues, baffo-relievos, medals, intaglios, or engraved ftones. However, all thofe 
 remains of antiquity are not equally excellent or good ; but even in thofe that are 
 indifferent, there is a certain degree of beauty which diftinguiflies them from the 
 works of the moderns. But it is the moft perfect of the works of the ancient 
 great matters which are to be the objects of our tafte and imitation, as they continue 
 ffill to be the objects of our wonder and aftonifliment. 
 
 ATTITUDE in painting, is the pofture or difpofition of the limbs and members of a 
 figure, by which we difcover the action in which it is engaged, and the very fenti- 
 ment fuppofed to be in the mind of the perfon reprefented. It comprehends all 
 the motions of the body, and requires a perfect knowledge of ponderation, and 
 v/hatever refers to the centre of gravity ; but whatfoever attitude be given to any 
 
 a 2 figure, 
 
 * The authors whofe works have been particularly uftrd in this Explanation', ' are Baptifta Alberti, Montefiauieuj 
 Felibien, ~Dc Piles, Richardfon, Houbraken, and Chambers. 
 
figure, that attitude mud {hew the beautiful parts, as much as the fubject will 
 permit, let the fubject be what it will. It mull, befides, have fuch a turn, as, 
 without departing from probability, or from the character of the figure, may 
 diffufe a beauty over the action. It is allowed, that the choice of fine attitudes 
 conftitutes the greateft part of the beauties of grouping. 
 
 BENTVOGEL SOCIETY. The Flemim Painters who refided at Rome, formed 
 themfelves into a fociety, into which they received all thofe of their own nation, 
 who, after their arrival at Rome, defired to be admitted as members. The intro- 
 du6lion_was appointed to be at a tavern in the city, at the expence of the perfon 
 introduced ; and after 'fome whhnfical and droll ceremonies, a name was given to 
 the new brother, which exprefTed either the perfections, or the defects, in the form 
 or countenance of the perfon ; any remarkable peculiarity in the ftyle of his 
 colouring or compofition ; or any thing very fingular in his character, conduct, 
 or manner of living. That ceremony was continued for one entire night; and 
 the next morning they walked in procemon to a place fome diftance from Rome., 
 called the Tomb of Bacchus, where the whole ceremony concluded. By this 
 Society, Peter Van Laer was named Bamboccio, from the form of his body; Philip 
 Roos, Rofa da Tivoli ; Herman Swanefeld, the Hermit of Italy; Francis Van 
 Bloemen, Horizonti ; Peter Van Lint, Studio ; and fo of many others. This 
 Society has been diflblved entirely for fome years paft; though it is reportedj. 
 that Raphael himfelf gave the firft hint of it. 
 
 CASTING of DRAPERIES. By this term is implied, tne diftribution of the folds ; 
 and draperies are faid to be well caft, when the folds are diftributed in fuch a 
 manner as to appear rather the refult of mere chance, than of art, ftudy, or 
 labour. In that manner or ftyle of painting, which is called the Grand, the folds 
 of the draperies fhould be great, and as few as poflible ; becaufe their rich fimplicity 
 is more fufceptible of great lights. But it is an error to defign draperies that are 
 too heavy and cumberfome; for they ought to be, fuitable to the figures, with a 
 combination ofeafe and grandeur. Order, contraft, and variety of ftufFs and folds, 
 conftitute the elegance of draperies ; and diverfity of colours in thofe ftufFs, contri- 
 butes extremely to the harmony of the whole in hiltorjcal compofitions. 
 
 CHARGE, or CHARGED, is a term ufed by artifts to fignify any thing that 
 exceeds ; fuch as exaggerating the outlines, in order to fhew a fuperior degree of 
 (kill, and by that means exceeding the bounds of a regular fimplicity. Yet (De 
 Piles obferves) there are charged outlines thatpleafe; becaufe they are above the 
 lowlinefs of ordinary nature, and carry with them an air of freedom, with an idea 
 of a great tafte> which deceives moft painters, who call fuch excefies the grand 
 2 manner. 
 
C v ] 
 
 manner. And although, to fitch perfons who have a true idea of correctnefs, 
 fimplicity, and elegance of nature, thefe exceffes may feem fuperfluous, as they only 
 adulterate the truth, yet one cannot forbear to commend fome things that are over- 
 charged, in great works, when the diftance from wSience they are to be viewed 
 foftens them to the eye ; or when they are ufed with fuch difcretion, as makes the 
 character of truth more apparent. It is worthy of being remarked, that in the 
 antique ftatues, which are allowed to be the rule of beauty, nothing appears charged, 
 nothing affected nor is there any thing of that kind in the works of thofe who 
 have always imitated them} as Raphael, Dcmenichino, Nicolo Pouffin, and fome 
 others. 
 
 CHIARO-SCURO, is the art of advantageoufly diftrilbuting the lights and fhadows 
 which ought to appear in a picture; as well for the repoie and fatisfaction of the 
 eye, as for the effect of the whole together. As to the meaning of the word 
 Chiaro (tranflated clear or tranfparent), it implies not only any thing expofed to a- 
 direct light, butalfo all fuch colours as are in their nature luminous. Scuro (trans- 
 lated dark or darkntfs), not only implies all the fhadows directly caufed by the 
 privation of light, but likewife all the colours whiich are naturally brown ; fuch 
 as, even when they are expofed to the light, maintain an obfcurity, and are capable 
 of grouping with the fhades of other objects. Of which kind, for inftance, are- 
 deep velvets, brown fluffs, polifhed armour, and tlhe like, which preferve their 
 natural or apparent obfcurity in any light whatever. By the Chiaro-Scuro, objects 
 receive more relief, truth, and roundnefs ; and it particularly fignifies ih; great 
 lights, and great fhades, which are collected with fuch induftry and judgment as 
 conceals the artifice. The diftribution of the objects forms the maffes of the Chiaro- 
 Scuro, when, by an artful management, they are fo dlifpofed, that all their lights arc 
 together on one fide, and their darknefs on the other. 
 
 CONTOUR, or OUTLINE, is that which terminates and defines a figure ; and a 
 great part of the (kill of a painter confifts in managing the contours judiciouHy. 
 
 CONTRAST, is an oppofition or difference in the pofition of two or more figures^ 
 contrived to make a variety in painting. Thus, in ai group of three figures, when 
 one appears in front, another fbews his backhand a third is placed fideways, there is 
 faid to be a contrail. A well-conducted contraft is one of the. greateft beauties of 
 a painting. It is not only to be obferved in the pofition of the feveral figures, but 
 alfo in that of the feveral members of the fame figure. If nature requires the 
 painters and fculptors to proportion the parts of their figures, it requires alfo that 
 they contraft their limbs, and their different attitudes. One foot placed like another,, 
 or one member extended or depreffed like another, excites our difguit; becaufe 
 
 fymmetr^" 
 
[ vi ] 
 
 fymmetry deprives us of the pleafuresarifing from variety, and makes the attitudes 
 appear too frequently the fame. As we may obferve in Gothic figures, which, by 
 want of that judicious contraft, always refemble each other. 
 
 CORRECTNESS, is a term which implies a defign that is without a defect in its 
 meafures and proportions. 
 
 COSTUME, is an Italian word, which fignifies cuftom or ufage; and the term implies, 
 that a painter, in reprefenting fome hiftorical paflage, action, or event, muft not 
 only be exact in defcribing the particular fact, but he muft alfo reprefent the fcene 
 of action ; the country where the action has paffed ; whether it was at Rome, or 
 Athens; whether at a river, or on the fea-fhore ; in a palace, or a field ; in a fruit- 
 ful or defert country ; obferving to diftinguilh, by the dreffes, cuftoms, and manners, 
 peculiar to each people, whether they are of one country or the other ; whether 
 Greeks, Romans, Jews, or Barbarians. 
 
 DESIGN, implies the reprefentation of one or more human figures or animals; or fome 
 parts or members of either; or a fcene taken from nature; a plant, fruit, flower, 
 infect, or piece of drapery, all taken from the life ; in order to be inferted in fome 
 part of a picture ; and in this fenfe it is called a ftudy. It is alfo taken for the out- 
 line of objects; for the meafures and proportions of exterior forms. Defign confifts 
 of feveral parts, of which the principal are, correctnefs, good tafte, elegance, cha- 
 rafter, variety, and perfpective. 
 
 "DISTEMPER, is a preparation of colours, without oil, only mixed with fize, whites of 
 eggs, or any fuch proper, glutinous, or unctuous fubftance ; with which kind of 
 colour all the ancient pictures, before the year 1410, were painted, as alio are the 
 celebrated Cartons of Raphael. 
 
 DRYNESS, is a term by which artifts exprefs the common defect of the early painters 
 in oil, who had but little knowledge of the flowing contours, which fo elegantly 
 fhew the delicate forms of the limbs, and the infertion of the mufcles ; the flefli in 
 their colouring appearing hard and ftiff, inftead of expreffing foftnefs and pliancy. 
 The draperies of thofe early painters, and particularly of the Germans, concealed 
 the limbs of the figures, without truth, or elegance of choice; and even in their bell 
 matters, the draperies very frequently either demeaned, or encumbered the figures. 
 
 ELEGANCE in a defign, is a manner which embellifhes and heightens objects, either 
 as to their form, or colour, or both, without deftroying or perverting truth. It 
 appears moft eminently in the antiques, and next in thofe painters who have 
 5 imitated 
 
[ vii ] 
 
 imitated them beft, the principal of which is Raphael. De Piles obferves, that 
 elegance is not always founded on correctness, as may be evident from the works 
 of Raphael and Correggio j in the latter of whom, notwithstanding his incorreclnefs 
 of defign, his elegance in the tafte of it, and in the turn which he has given to his 
 actions, muft needs be admirefd. i for he rarely departs from elegance. 
 
 EXPRESSION principally confifts in reprefenting the hurman body, and all its parts, in 
 the action fui table to it; in exhibiting in the face the feveral paflions proper to the 
 figures, and marking the motions they imprefs o>n the other external parts. 
 Frequently, the term Expreflion is confounded with that of Paffion ; but the former - 
 implies a reprefentation of an object: agreeably to its nature and character, and the 
 ufe or office it is intended to have in the work ; and paflion, in painting, denotes a 
 motion of the body, accompanied with certain airs of the face, which mark an agitation 
 of foul. So that every paflion is an expreflion, but not every expreflion a paflion. 
 
 FRESCO, is a kind of painting performed on frefh plafter, or. on a wall covered with 
 mortar not quite dry, and with water colours. The plafter is only to be laid on 
 as the painting proceeds ; no more being done at once than the painter can difpatch 
 in a day. The colours, being prepared with water, amd applied over plafter quite . 
 frefh, become incorporated with the plafter, and retain their beauty for a great 
 length of time. 
 
 GRACE, principally confifts in the turn that a painter gives to his objects, to render 
 them agreeable, even thofe that are inanimate. It is more feldom found in the 
 face, than in the manner ; for our manner is produced! every moment, and can create 
 furprife. In a word, a woman can be beautiful but one way, yet fhe can be grace- 
 ful a thoufand. Grace is neither found in conftrained, nor in affected manners, but 
 in a certain freedom and eafe between the two extremes. 
 
 GROTESQUE. This term, which is now familiar among all the lovers of the art of 
 painting, was by the Italians appropriated to that peculiar manner of compofrtion 
 and invention, obferved among the antique monumental paintings which were 
 difcovered in the fubterraneous chambers, that had been decorated in the times of the 
 ancient Romans. And as the Italians apply^the word Grotta to exprefs every kind 
 of cave or grot, all paintings, which were in imitation of the antique defigns 
 difcovered in thofe fubterraneous chambers, which for ages had been covered with 
 ruins, are now called grottefca, or grotefque ; implying a ftyle, in which the imagina- 
 tion, and the wildnefs of inventive fancy are principally exerted, without any ftrict 
 adherence to nature, truth, or probability. 
 
 GRQ-UPE 
 
GROUP, is the cambination or joining of objects in a pict ure, for the fatisfa&ion of 
 the eye, and alfo for its repofe. And although a picture may coniift of different 
 groups, yet thofe groups of objects, managed by the .Chiaro-Scuro, fliould all 
 tend to unity, and one only ought to predominate. That fubordinaticn of groups 
 creates that union and harmony, which is called the Tout-enfemble^ or the whole 
 together. By a predominant group the eye is agreeably fixed; and, by means of the 
 repofes caufed by a fpread of lights and fliades, neither the effect of the other 
 groups, nor the effect, of the fubordinate objects, are hindered. 
 
 LOCAL COLOURS, are fuch as faithfully imitate thofe of a particular object, or fuch 
 as are natural and proper for each particular object in a picture. And Colour is 
 diflinguifhed by the term Local, becaufe the place it fills requires that particular 
 colour, in order to give a greater character of truth to the feveral colours around it. 
 
 LINEAR PERSPECTIVE, is that which defcribes, or reprefents, the pofition, mag- 
 nitude, form, &c. of the feveral lines or contours of objects; and expreffes their 
 diminution, in proportion to their diflance from the eye. 
 
 MANNER, is that habitude which painters have acquired, not only in the management 
 of the pencil, but alfo in the principal parts of painting, invention, defign, and 
 colouring. It is by the manner in painting that a picture is judged to be by the 
 hand of Titian, Tintoret, Guido,„the Caracci, and others. Some mailers have had 
 a variety in their manners, at different periods of life; and others have fo conftantly 
 adhered to one manner, that thofe who have - feen even a few of them, will imme- 
 diately know them, and judge of them without any rifqiie of a miftake. The 
 variety obfervable among artifls, in their manner and tafle, arifes from the manners 
 of the different fchools in which they have received their inftruction; or of the 
 artifls under whom they have ftudied; for young painters, feeling a partiality in 
 their own choice and judgment, to thofe matters which they have imitated, it 
 prevails with them to prefer, what they have long accuftomed themfelves to admire. 
 Yet there are many inftances, among the great artifts, of painters who have diverted 
 themfelves of that early partiality to a particular manner, and have altered it fo 
 effectually, as to fix on one abundantly more refined, and better adapted to their 
 particular genius ; by which means they have arrived at excellence. Thus, for 
 inftance, Raphael proceeded, and acquired a much more elevated manner, after he 
 he had quitted the fchool of Perugino. 
 
 ORDONNANCE, is the placing regularly the figures, in refpect of the whole compo- 
 fition ; or the particular difpofition of figures as to the different groupes, maffes, 
 contrails, decorum and fituation. 
 
 OUTLINE, 
 
C 1* ] 
 
 OUTLINE, is that which traces the circumferences of objects in a picture. The outline 
 is to be drawn as thin and fine as pofiible, fb as fcarcely to be difcerned by the eye; 
 and it ought to be obferved, that a correct outline may excite pleafure, even without 
 any colouring, but no colouring can afford equal fatisfaclion to a judicious eye, if 
 the outline be incorrect ; for, no compofition, no colouring can merit praife, where 
 the outline is defective. 
 
 PASSION, in painting, implies an emotion of the body, attended with certain expref- 
 ftve lines in the face, denoting an agitation of foul. 
 
 PASTICI, is a term by which the Italians diftinguifh thofe pictures which cannot be 
 called either originals or copies ; being the works of fome artifts, who have had the 
 fkill to imitate the manner of defign, and colouring, of other eminent matte rs r 
 fometimes borrowing parts of their pictures, fometimes imitating their touch, their 
 ftyle of invention, their colouring, and their expreffion. Several painters, of 
 confiderable reputation for their own original performances, have made themfelves 
 remarkable in this way i but none of them more than David Teniers, who hath fo 
 fuccefsfully counterfeited Giacomo Baflan, as to deceive the moil judicious, in 
 many inftances, at the firft fight j though, upon a clofer infpection, his light and 
 eafy pencil, and a predominant grey tint, which is obfervable in the colouring 
 of that mafter, will fhew a perceptible difference between his pencil and colouring, 
 when they are carefully examined, and compared with Baffan's. For, although 
 Teniers underftood the union of colours extremely well, yet Baffan was fuperior to 
 him in the fweetnefs and vigour of his tints. De Piles recommends it to all per- 
 fons who would not wifti to be deceived by the Paftici, to examine their tafte of 
 defign, their colouring, and the character of their pencils, with the original matters 
 from whom they were taken. Teniers, Luca, Giordano, and Bon Boullongne, 
 are thofe who have appeared with the "greateft reputation for imitating other great 
 matters j and befide thefe, many other artifts have employed themfelves in painting 
 the Paftici. 
 
 SITE, in landfcape, fignifies the view, profpect, or opening of a country, derived from 
 the Italian word Sito, fituation ; and it is in ufe among the artifts in painting, as 
 being more expreilive. 
 
 b 
 
 THE 
 
THE 
 
 NAMES of the PAINTERS 
 
 CONTAINED IN 
 
 THIS DICTIONARY. 
 
 A A 
 NDREA Abate. 
 Nicolo Abbate. 
 Filippo Abbiati. 
 John van Ach. 
 Alexander Adrianfen. 
 Evert van Aelft. 
 William van Aelft. 
 
 Peter Aertfen. 
 Livio Agrefti. 
 Francefco Albano. 
 Giovanni Battifta Albane. 
 Cherubino Alberti. 
 Giovanni Alberti. 
 
 Albert Aldegraef. 
 John van Alen. 
 Antonio Alienfe. 
 Baldaflare Alloifi. 
 Aleflandro Allori. 
 Ghriftofano Allori. 
 Chriftopher Ambergen 
 Jacopo Amiconi. 
 Octavio Amigoni. 
 Giovanni Angelico. 
 Michael Angelo, Buonaioti. 
 Michael Angelo, da Caravaggio. 
 Michael Angelo, di Campidoglio. 
 Michael Angelo, di Battaglta. 
 Michael Angelo, Colonna. 
 Filippo D' Angeli. 
 Sophonilba Angufciola. 
 Lucia Angufciola. 
 Europa Angufciola. 
 Peter van Anraat. 
 John Antiquus. 
 . r . Antiveduto. 
 
 . . . Antonello, da Meffina. 
 Jacob Appel. 
 Barent Appelman. 
 Caefaro Arethufu 
 . . . Aretino. 
 James Anthony Arlaud. 
 Giufeppe D' Arpino. 
 Jacques D' Artois. 
 Edmund Aftifield. 
 John Afper. 
 Amico Afpertino^ 
 John Aftelyn. 
 
 B 
 
 John de Baan, 
 Jacob de Baan. 
 Theodore Babeur. 
 , . . Baccici. 
 Bartolomeo Baccio. 
 Jacques Backer. 
 
 Jacob Backer. 
 William Backereel. 
 Ludolph Backhuyfen 
 Francis Badens. 
 Antonio Badile. 
 
 Sifto Badolocchi.. 
 . . . Baerftrat. 
 David Bailii. 
 Mario Balafli. 
 Hendrick van Balen. 
 John van Balen. 
 Lazaro Baldi. 
 Antonio Baleftra. 
 Peter Balton. 
 . . . Bamboccioi 
 Baccio Bandinelli. 
 
 John 
 
John Baptift, Monnoyer. 
 John Baptift, Gafpars. 
 Anthony Baptift. 
 Bernardino Barbatelli. 
 Giovan Francefco Barbieri. 
 Paolo Antonio Barbieri, 
 Dieterick Barent. 
 
 Francis Barlow. 
 Federigo Barroccio. 
 . . . Bartelemi di S. Marco. 
 . . . Bartolet. 
 Bartolomeo da Bagnacavallo. 
 . . . Bartolomeo 
 Giacomo Baffan. 
 Francefco Baffan, 
 Leandro Baffan. 
 Giovanni Battifta Baffan. 
 Girolamo Baffan. 
 William Baur. 
 Mary Beal. 
 Domenico Beccafiumi. 
 
 David Beck. 
 Cornelius Bega. 
 Abraham Begeyn. 
 Giovanni Battifta Bemafchi. 
 Joachim Francis Beifch. 
 
 . . . Bellevois. 
 Giacomo Bellini 
 Gentile Bellini 
 Giovanni Bellini 
 Pietro Bellotti. 
 Antonio Bellucci. 
 William van Bemmel 
 
 . . . Benedetto 
 John vander Bent. 
 Nicholas Berchem. 
 Peter Berchet. 
 Mathys vander Berg. 
 Dirk vanden Bergen. 
 
 Job Berkheyden. 
 Gerard Berkheyden. 
 Nicafius Bernaert. 
 . . . Bernard, of Bruffels. 
 , . . . Bernazano. 
 Nicolo Beretoni. 
 Pietro Berretini, 
 Nicholas Bertin. 
 Domenico Betcini. 
 
 . . Bevilaqua. 
 William Beurs. 
 Francefco Bianchi. 
 Ferdinand Galli Bibiena. 
 Adrian de Bie. 
 ChriftianJans van Biezeligen. 
 Bartolomeo Bifcaino. 
 
 xi J 
 
 John de Bifchop. 
 Cornelius Bifchop. 
 Abraham Bifchop. 
 Charles Emanuel Bifet. 
 Bonaventure Bili. 
 Giovanni Bizzelli. 
 Jacques Blanchard.' 
 Thomas Blanchet. 
 John Teunifz Blanchof. 
 . . . Blekers. 
 Henry Blefs. 
 Anth.de Montfort Blockland. 
 Daniel Block. 
 Jacob Roger Block. 
 Benjamin Block. 
 Abraham Bloemart. 
 Henry Bloemart. 
 Adrian Bloemart. 
 Peter van Bloemen. 
 Francis van Bloemen. 
 Norbert van Bloemen. 
 Chriftopher Le Blond 
 Peter Bloot. 
 Camillo Boccacci 
 Clemente Bocciardi. 
 John van Bockhorft. 
 . . . Bodekker. 
 . . . Bodewyns. 
 Peter Boel. 
 James Bogdanc 
 Ferdinand Bol. 
 John Bol. 
 John Bolanger. 
 Francifco Bolognefe. 
 Alexander Bolognefe. 
 Giovanni Battifta Bolognini. 
 Sebaftian Bombelli. 
 Venetiano Bonifacio. 
 Aleffandro Bonvincino. 
 Daniel Boon. 
 Arnold Boonen. 
 Henry vander Borcht. 
 . . . Bordier. 
 
 Paris Bordone. 
 Orazio Borgianni. 
 Luciano Borzoni. 
 Giovanni Battifta Borzoni. 
 
 Carlo Borzoni. 
 Francifco Maria Borzoni. 
 
 Jerom Bos. 
 Lewis Janffen de Bos. 
 
 Cafpar vander Bofs. 
 Balthafar vander Bofch. 
 Tho. Willeborts Bofchaert. 
 Jacob vanden Bofch. 
 
 b z Andrea 
 
[ xii 3 
 
 Andrea 
 John 
 Andrew 
 Alejandro 
 Louis 
 Louis 
 Bon 
 Sebaftian 
 
 Francis 
 John William 
 Reinier 
 Leonard 
 Peter 
 Giacinto 
 Gregory 
 Solomon de 
 Jacob de 
 
 Peter van 
 John van 
 Peter van 
 Bartholomew 
 Charles 
 Francis 
 Matthew 
 Paul 
 Cornelius 
 Francefco 
 Elias vanden 
 
 Peter 
 John 
 
 Agnolo 
 Adrian 
 Peter 
 Peter Peterfz 
 John 
 Abraham 
 Charles le 
 
 Roger of 
 Buonamico 
 Giuliano 
 Jacob 
 John van 
 Jacob 
 Bernardo 
 
 Bofcolii 
 Both, of Italy. 
 Both. 
 Boticello. 
 
 Boullongne, the Old. 
 
 Boullongne, the Young. 
 
 Boullongne. 
 
 Bourdon. 
 
 Bourgognone. 
 
 Bout. 
 
 Bouwer. 
 
 Brackenburg. 
 
 Bramer. 
 
 Brandel. 
 
 Brandi. 
 
 Brandmuller. 
 
 Bray. 
 
 Bray. 
 
 Breckberg. 
 
 Breda. 
 
 Breda. 
 
 Bredaef. 
 
 Breenberg. 
 
 Breydel. 
 
 BreydeL 
 
 Bril. 
 
 Brih 
 
 Brize. 
 
 Brizio. 
 
 Broek. 
 
 Broers. 
 
 Bronchorft. 
 
 Bfonchorft. 
 
 Bronzino* 
 
 Bronzino. 
 
 Brouwer. 
 
 Brueghel. 
 
 Brueghel. 
 
 Brueghel. 
 
 Brueghel. 
 
 Brun- 
 
 Brufaforci. 
 
 Bruffels. 
 
 Buifalmacco. 
 
 Bugiardini. 
 
 Bunel. 
 
 Bunnik. 
 
 Bunnik. 
 
 Buontalenti. 
 
 Buonaceorli. 
 
 C. 
 
 Adrian vander Cabel. 
 
 Paolo Cagliari. 
 
 Carletto 
 Gabriel 
 
 Benedetto" 
 Guido 
 
 Francefco 
 
 Giacinto- 
 Luca 
 John 
 Denis 
 Antonio 
 Andrea 
 Galeazzo 
 Bernardo 
 Dirk Raphael 
 Ludovico 
 Peter 
 
 Domenico Maria 
 
 Annibal 
 Ludovico 
 Agoftino 
 
 Antonio 
 Francefco 
 
 Ludovico 
 Henry 
 Michael 
 Giovan-Francefco 
 Giovanni 
 Ugo da 
 Girolamo da 
 Julio 
 Giacomo 
 Nicolo 
 Giovan. Agoftino 
 Jacopo di 
 Andrea del 
 Bernardo 
 Valerio 
 Benedetto 
 Francefco 
 Peter de 
 Pietro 
 Jacomo 
 Andrea 
 Giov. Domenico 
 Giovan. Paolo 
 Philip de 
 John Baptift 
 
 Francis du 
 Louis 
 
 Elizabetha Sophia 
 Giufeppe 
 
 Cagliari* 
 
 Cagliari. 
 
 Cagliari. 
 
 Cagnacci. 
 
 Cairo. 
 
 Calabrefe. 
 
 Calandrucci, 
 
 CaliavarL 
 
 Calkar. 
 
 Calvart. 
 
 Calza. 
 
 CamafTei. 
 
 Campi. 
 
 Campi. 
 
 Camphuyfen. 
 
 Cangiagio. 
 
 Candito. 
 
 Canuti. 
 
 Cappuccino* 
 
 Caracci. 
 
 Caracci. 
 
 Caracci. 
 
 Caracci. 
 
 Caracci. 
 
 Caravaggio 
 
 Cardi. 
 
 Carre. 
 
 Carre. 
 
 Caroto. 
 
 Caroto* 
 
 Carpi. 
 
 Carpi. 
 
 Carpione. 
 
 Carucci. 
 
 Caflana. 
 
 Caflana. 
 
 Caflentino. 
 
 Caftagno. 
 
 Caftelli. 
 
 Caftelli. 
 
 Caftiglione. 
 
 Caftiglione. 
 
 Caftro. 
 
 Cavallino. 
 
 Cavedone. 
 
 Celefti. 
 
 Cerini. 
 
 Cervetto. 
 
 Champagne. 
 
 Champagne, 
 
 Chardin. 
 
 Chatel 
 
 Cheron. 
 
 Cheron. 
 
 Chiari. 
 
' Jacopo Chiaviftelli. 
 Agoftino Ciampelli* 
 Scipio Cignaroli. 
 Carlo Cignani. 
 Giovanni Cimabue. 
 Andrea di Cione. 
 Nicolo Circignano. 
 Antonio Circignano. 
 . . . Claude, Lorraine. 
 Jofeph van Cleef. 
 
 John van Cleef. 
 Henry van Cleef. 
 Martin van Cleef. 
 
 . . . Clementone. 
 John le Clerc. 
 Francis de Cleyn. 
 
 N. Clofterman. 
 Giorgio Giulio Clovio. 
 
 ... Codazzo. 
 Giles Coignet. 
 ; . . De Colombien.. 
 Adam Coloni. 
 Adrian Coloni. 
 . . . Colonna. 
 Andrea Commodi. 
 Sebaftian Concha. 
 
 Egidius Coningfloo. 
 Giovanni Contarini. 
 Jacopino dal Conte. 
 Samuel Cooper. 
 Alexander Cooper. 
 Cavalier Coppa. 
 Gonzalo Coques. 
 [ ... Coriario. 
 
 Lucas Cornelii. 
 Jacques Cornelifz^ 
 Cornelius Cornelifz. 
 Octavio Corradi. 
 Antonio da Correggio. 
 Giacomo Cortefi. 
 <Gio.Marmocchini Cortefi. 
 
 Pietro da Cortona. 
 Pietro Paolo Cortonefe. 
 John Cofiers. 
 Pietro da Cofimo. 
 
 . . . Couwenberch. 
 William Courtois. 
 Reiner Covyn. 
 Ifrael Covyn. 
 Michael Coxis. 
 Anthony Coypel. 
 Noel Nicholas Coypel. 
 Francefco Cozza. 
 . . . Crabbetje.- 
 Dirk Crabeth, 
 
 5 
 
 £ xiii 3 
 
 Wouter Crabeth, 
 N. Cramer. 
 Luca Cranius, the Old. 
 Luca Cranius, the Young. 
 Jofeph van Craafbeck. 
 ■ Cafpar de Crayer. 
 
 Lorenzo di Credi. 
 . . . Crepu. 
 Daniello Crefpi. 
 Giufeppe Maria Crefpi. 
 Domenico Crefti.. 
 
 Mr. Crofs. 
 Francefco Curradi. 
 . . . Cuylenburg. 
 Albert Cuyp. 
 
 D. 
 
 Jacopo D'Agar. 
 
 Dirk Dalens. 
 Pietro Dandini. 
 Oftavio Dandini. 
 Caefare Dandini.. 
 Cavaliere Daniello. 
 
 Henry Dankers, or Dankaerts,. 
 John Dankers. 
 Dirk van Delen. 
 
 Jacob Delft. 
 Deodato Delmont. 
 Balthafar Denner. 
 Jacques Denys. 
 Peter Cornelius Deryck.- 
 William Deryck. 
 Alexander Defportes. 
 Jacques De Witt. 
 John Baptifta van Deynum. 
 
 Lewis Deyfter. 
 Anna Deyfter. 
 Adrian van Dieft. 
 Abraham van Diepenbeke. 
 Abraham Diepraam. 
 William Dobfon. 
 Jacob vandex Does, the Old. 
 Jacob vander Does, the Young. 
 Simon vander Does. 
 Carlo Dolce. 
 . . . Domenichino. 
 John Domenique. 
 Peter Donker. 
 John Donker. 
 Lewis Dorigny. 
 William Doudyns, or Dodoens. 
 John Francis Douven. 
 
 Gerhard Douw. 
 William van Drillenburg. 
 
 ... Drogfloot, 
 
[ XIV } 
 
 ; . . Drogfloot. 
 . . . Droit. 
 Aart Janze Druiverftein. 
 Simon Dubois. 
 q John Je Due. 
 
 Ifaac Ducart. 
 Heyman Dullaert. 
 Albert Durer. 
 Cornelius Dufart. 
 Nicholas Duval. 
 Marc van Duvenede. 
 
 E. 
 
 Gcrbrant Vanden Eeckhout. 
 Anthony vander Eeckhout. 
 Gerard Edema. 
 Juftus van Egmont. 
 Ottomar Elliger, the Old. 
 Ottomar Elliger, the Young* 
 Matthias Elias. 
 Adam Elfheimer. 
 [Jacopo da Empoli. 
 Cornelius Enghelbrecht. 
 Cornelius Enghelrams. 
 
 . . . Eremita, di Monte Senario. 
 Caefar van Everdingen. 
 Aldret van Everdingen. 
 
 John van Everdingen. 
 Hubert van Eyck. 
 John van Eyck. 
 Peter Eykens. 
 
 F. 
 
 jGentile da Fabriano. 
 Charles Fabricius. 
 Pietro Fachetti. 
 Pietro Pacini. 
 Peter vander Faes. 
 
 Anthony Faiftenberger. 
 Jofeph Faiftenberger. 
 Paolo Farinato. 
 Orazio Farinato. 
 II Fattore. 
 Morto da Feltro. 
 Francis Paul Ferg, or Fergue. 
 William Fergufon. 
 Nuzio Ferrajuoli. 
 Giovanni Andrea Ferrari. 
 
 . . . Ferrata. 
 Ciro Ferri. 
 Domenico Fetti. 
 Roland le Fevre. 
 Claude le Fevre. 
 
 Domenico Fiafella. 
 Giovanni di Fiefole. 
 Amhrogio Figino. 
 . . . Fidravanti. 
 . . . Fiori. 
 Bertholet Flameel. 
 Govert Flink. 
 Stefano Florentino. 
 Francis Floris. 
 Profpero Fontana. 
 Lavinia Fontana. 
 John Baptift Fontenay. 
 
 Girolamo Forabofco. 
 John Baptift Foreft. 
 Charles de la Foffe. 
 
 James Fouquieres. . 
 Bertram de Fouchier. 
 
 Antonio Franchi. 
 Pietro della Francefca. >■ 
 Marc Antonio Francefchini. 
 Baldaffare Francefchini. 
 . . . Francefchino. 
 . . . Franc'hiello, della Mura. 
 Francefco Francia. 
 
 . . . Francifque. 
 Francifcus Franken, called Old Franks. 
 Francifcus Franken, called Young 
 Franks. 
 Sebaftian Franks, or Vranx. 
 John Baptift Franks. 
 Battifta Franco. 
 Lucas Francois, the Old. 
 Peter Francois, the Young. 
 Simon Francois. 
 
 II Frari, of Modena. 
 Lorenzo Maria Fratellini. 
 Giovanna Fratellini. 
 
 Martin Freminet. 
 Theodore Freres. 
 Cha. Alphonfe du Frefnoy. 
 Tomafo da San Friano. 
 Peter Frits. 
 Philip Fruytiers. 
 Ifaac Fuller. 
 Francefco Furini. 
 
 John Fytt, or Feyt. 
 
 G. 
 
 Barent Gaal. 
 Anton. Domenico Gabbiani. 
 William Gabfon. 
 Gaddo Gaddi. 
 Taddeo' Gaddi. 
 Agnolo Gaddi. 
 
 Alexander 
 
c 
 
 Alexander van Gaelen. 
 
 Scipio Gaetano. 
 . .. . Galanino. 
 Ippolito Galantini. 
 Filippo Maria Galetti. 
 . t . . Galli. 
 GiofefFo Gambarini. 
 
 James Gandy. 
 Lorenzo Garbieri. 
 Raphaelino del Garbo. 
 Benvenuto Garofalo. 
 Ludovico Garzi. 
 
 Maria Garzi. 
 Hendrick Gaud. 
 . . . Gaudentio. 
 Giovan. Battifta Gauli. 
 
 Benozzo Gazzoli. 
 , John van Geel. 
 
 Arent de Gelder. 
 . . Geldorp, 
 Claude Gelee. 
 Jacob GeSlig. 
 Vincentio di San Gemignano. 
 Giacinto Gemignano. 
 
 Luigi Gemignano. 
 Girolamo Genga. 
 Bartplomeo Genga. 
 Benedetto Gennari. 
 
 Casfare Gennari. 
 Abraham Genoels. 
 Ludovicus Gentile. 
 
 Oranzio Gentilefchi. 
 Artemifia Gentilefchi.. 
 Balthafar Gerbier. 
 Simon Qermyn. 
 
 . . Gerard of Haerlem. 
 Chriftofaro Gerardi. 
 Marc Gerards. 
 . . . Gerrards, van Zyl. 
 Pier Leone Ghezzi. 
 Domenico Ghirlandaio. 
 
 Ridolfo Ghirlandaio. 
 Giovanni Ghifolfi. 
 Richard Gibfon. 
 . . . Gillemans. 
 Luca Giordano. 
 . . Giorgione. 
 . . . Giofeppino. 
 . . . Giotto. 
 Tomafo Giottino. 
 Giovanni da San Giovanni. 
 Antonia Glufti. 
 John Glauber, 
 John Gotlief Glauber. 
 Diana Glauber. 
 
 XV ] 
 
 . . . Gobbo. 
 Andrea Gobboi 
 Margerita Godewyck. 
 Hugo vander Goes. 
 
 Hubert Goltzius. 
 Henry Goltzius. 
 John van Goyen. 
 Doroth. Henrietta Graaf. 
 
 Barent Graat. 
 Henry Graauw. 
 Peter Grebber. 
 Maria Grebber. 
 John Greenhill. 
 . . . Greghetto. 
 
 John Griffier, the Old. 
 Robert Griffier, the Young. 
 
 . Grimaldi. 
 Hubert Grimani. 
 Jacques Grimmer. 
 
 . . Guercino. 
 » . . Guido, Rheni. 
 
 . . Guido, Cagnacci. . 
 , . . Gulielmo. 
 
 H. 
 
 Peter Gyzen. 
 John van Haanfbergen. 
 John Hackaert. 
 Cornelius van Haerlem. 
 Theodore van Haerlem. 
 John van Hagen. 
 Francis Hals. 
 Dirk Hals. 
 John Hanneman. 
 Peter Hardime. 
 Lodowick Hartcarnp. 
 John van Heck. 
 Nicholas vander Heck. 
 Martin vander Heck. 
 William van Heede. 
 Vigor van Heede. 
 David de Heem. 
 Cornelius de Heem.. 
 Lucas de Heere.. 
 Daniel van Heil. 
 John Baptift van Heil. 
 Leonard van Heil. 
 Matthew van" Helmont. 
 Segersjacquesvan Helmont. 
 
 Theodore Helmbreker. 
 Barthol. vander Helft. 
 
 Martin Hemfkerck. 
 
 Egbert Hemfkerck, the Old. 
 
 Egbert Hemfkerck, ths Young. 
 
 Henry 
 
t 
 
 xvi ] 
 
 Henry Herregoirts. 
 . . . Herregouts. 
 William de Heufch. 
 
 Jacob de Heufch. 
 Abraham de Heufch. 
 John vander Heyden. 
 Nicholas Hilliard. 
 Laurence de la Hire. 
 Philip de la Hire. 
 Minderhout Hobbima. 
 
 John van Hoeck. 
 Robert van Hoeck. 
 Gerard Hoet. 
 Hans Holbein. 
 Cornelius Holftein. 
 Gilles Hondekoeter. 
 Gyfbert Hondekoeter. 
 Melchior Hondekoeter. 
 Abraham Hondius. 
 
 Gerard Honthorft. 
 William Honthorft. 
 Peter de Hooge. 
 Theodore van Hoogeftraetem 
 Samuel van Hoogeftraeten. 
 John Hoogzaat. 
 John Hofkins. 
 John Rudolph Huber. 
 . . . Hugenfe. 
 John van Hugtenburgh. 
 Jacques van Hugtenburgh. 
 Peter vander Hulft. 
 
 Cornelius Huyfum, or Hofeman. 
 James Huyfman. 
 - Juftus van Huyfum, the Old. 
 Juftus van Huyfum, the Young. 
 John van Huyfum. 
 Jacob van Huyfum. 
 
 J- 
 
 Jurian Jacobfz. 
 Hubert Jacobfz. 
 Lang Jan. 
 Abraham Janffens. 
 V T i&or Honorius Janffens. 
 Cornelius Janffen. 
 Koral du Jardyn. 
 William van Inghen. 
 Ludolph de Jong. 
 Jacques Jordaens. 
 . . . Julio Romano. 
 John Juvenet, or Jouvenet. 
 
 K. 
 
 William Kalf. 
 
 Barent van Kalraat. 
 Jacob van Kampen. 
 . . . Kamphuyfsn. 
 William Kay. 
 Jofeph vanden Kerckhove. 
 
 John van Keffel. 
 Ferdinand van Keffel. 
 N. van Keffel. 
 Cornelius Ketel. 
 Janfon van Keulen. 
 Cornelius Kick. 
 Alexander Kierings. 
 David Klocker. 
 Sir Godfrey Kneller. 
 
 N. Kniberg, or Knipbe 
 Nicholas Knupfer. 
 Matthew Kock. 
 Wenceflaus Koeberger. 
 Ifaac Koene. 
 Roelof Koets. 
 Joanna Koerten. 
 David de Koninck. 
 Philip de Koningh. 
 Soiomon Koningh. 
 Leonard vander Koogen. 
 Peter Kouc- 
 Chriftianvan Kouwenburgh.' 
 Francis Kraufe. 
 John van ! Kuick. 
 John Kupetzki. 
 Jacob Gerritze Kuyp. 
 
 Albert Kuyp, or Cuyp, 
 
 L. 
 
 Peter van Laer. 
 Roeland van Laer. 
 
 Gerard Laireffe. 
 Erneft Laireffe. 
 
 John Laireffe. 
 James Laireffe. 
 Nicholas Lancret. 
 . . . Lang Jan. 
 John Lantranc. 
 Profper Henry Lankrinck. 
 Andrea Lanzano. 
 Nicholas de Largilliere. 
 Marcellus Laroon. 
 Peter Laftman. 
 Jacob Laveque. 
 Filippo Laura. 
 John Ant. vander Leepe. 
 Gabriel vander Leeuw. 
 
 Peter vander Leeuw. 
 Stefano Maria Legnano. 
 GiovanniAntonio Leifman. 
 
xvii ] 
 
 Sir Peter Lely. 
 Balthafar van Lemens. 
 Arto Leone. 
 N. vander Leur. 
 Lucas van Leyden. 
 N. Leyffens. 
 . . . Liberate Veronefe. 
 Pietro Liberi. 
 Giovanni Antonio Licinio. 
 
 Jan Lievens. 
 Pirro Ligorio. 
 Jacopo Ligozzi. 
 John Linglebach. 
 Jan Linfen. 
 Peter van Lint. 
 Hendrick van Lint. 
 John Stephen Liotard. 
 
 Filippo Lippi, the Old. 
 Filippo Lippi, the Young. 
 Lorenzo Lippi. 
 John vander Lis, of Oldenburgh. 
 John Lys, of Breda. 
 Nicholas Loir. 
 Giovanni Paolo Lomazzo. 
 Lambert Lombard. 
 Aleflandro Loni. 
 Theodore van Loon. 
 
 . . . Lorraine. 
 Ambrogio Lorenzetti. 
 John Loten. 
 Carlo Loti, or Loth. 
 Lorenzo Lotto. 
 Theodore Lubienetzki. 
 Chriftopher Lubienetzki. 
 Jan Luiken. 
 H. Lutterel. 
 Benedetto Luti. 
 
 M. 
 
 Dirk Maas. 
 Arnold van Maas. 
 Nicholas Maas. 
 . . . Maat. 
 
 John de Mabufe, or Mabeuge. 
 Michael Madderfteg. 
 Godfrey Maes. 
 Giovanni Battifta Maganza. 
 
 . . . MaitreRoux, 
 Vincentio Malo. 
 . . . Maltefe. 
 Cornelius de Man. 
 Silveftro Manaigo. 
 Rutilio Manetti. 
 Bartolomeo Manfredi. 
 
 Giovanni Mannozzi. 
 Andrea Mantegna. 
 . . . Mantuano. 
 Tornafo Manzuoli. 
 Giovanni Maracci. 
 Carlo Maratti. 
 N. Marcel. 
 . . . Margaritone. 
 Onorto Mariari. 
 . . . Mario, da Fiori. 
 . . . Marmocchini. 
 . . Martirelli. 
 Giovanni Stefano Marucelli. 
 Tornafo Mafaccio. 
 Annibal MafTari. 
 
 Otho Maflaeus. 
 . . . Maflblino. 
 Paolo da Mattei. 
 Quintin Matfys. 
 
 John Matfys. 
 . . . Maturino. 
 . . . Mayo. 
 Damiano Mazza. 
 Paola Mazzocchi. 
 Pier Francifco Mazzuccheli. 
 Francefco Mazzuoli. 
 Jeronimo Mazzuoli. 
 Pietro Medici. 
 Giovanni Battifta Medina. 
 John vander Meer. 
 John vander Meeren. 
 
 Livio Mehus, or Meus. 
 Giovanni Paola Melchiori. 
 Gerard Melder. 
 Simone Memmi. 
 Maria Syb ilia Merian. 
 Agoftino Metelli. 
 Gabriel Metzu. 
 An. Fran, van der Meulen. 
 
 Philip Meufnier. 
 Felix Meyer. 
 Albert Meyering. 
 
 John MeyfTens. 
 „ , . Micarino. 
 
 Jan Miel. 
 Francis Mieris, the Old. 
 
 John Mieris. 
 Willliam Mieris, called the Young. 
 Fra.ncis Mieris,calledYoung Francis. 
 Nicholas Mignard. 
 
 Peter Mignard. 
 Abraham Mignon. 
 Giofeffo Maria Milani. 
 
 Franc efco Milee, or Mile. 
 . . . Minderhout. 
 
 c Michael 
 
[ 
 
 xviii j 
 
 Michael Janfen Mirevelt. 
 
 Peter Mirevelt. 
 Jacob Molaert, 
 Pietro Francefco Mola. 
 Giovanni Battifta Mola. 
 Chev. Peter Molyn. 
 Jodocus Mompert. 
 . Monnicks. 
 Francefco Monfignora. 
 
 Del Mont. • ' 
 
 II Montagna. 
 Pietro Montanini. 
 Andrea Monticelli, 
 Michael Angelo Monticelli. 
 Karel de Moor. 
 John Moortel. 
 Giovanni Maria Morondi. ' 
 
 . . . Morazone. 
 Antonio More. 
 Paul Mooreelze. 
 N. Morell. 
 Le Moretto. 
 II Moro. 
 Giovanni Battifta Moroni. 
 Francefco Moroni. 
 
 . . . Morto da Feltro. 
 Little Mofes. 
 John Moftaert. 
 Frederick Moucheron. 
 Ifaac Moucheron. 
 Hernandez el Mudo. 
 Emanuel Murant. 
 Bartolomeo Murillio. 
 
 Thomas Murray. 
 Michael van Mufcher. 
 Girolamo Mutiano. 
 Herman vander Myn. 
 
 Arnold My tens. 
 Daniel Mytens. 
 . . Mytens. 
 John Mytens. 
 Martin Mytens. 
 
 N. 
 
 . . . Nadalino, del Murano. 
 Battifta Naldini. 
 Giovanni Nanni. 
 . . . Napolitano. 
 Giufeppe Nicola Nafini. 
 John van Neck. 
 
 Peter Neefs, the Old. 
 Peter Neefs, the Young. 
 Arnold vander Neer. 
 EglonHen.vander Neer. 
 
 John van Nes. 
 
 Gafpar Netfcher. 
 Theodore Netfcher. 
 Conftantine Netfcher. 
 Mathys Neveu. 
 . . . Niccoletto, 
 Mefler Nicolo. 
 William Nieulant. 
 John van Nikkelen. 
 Tobias van Nimeguen. 
 
 Elias van Nimeguen. 
 Domenique Nollet. 
 Mario Nuzzi. 
 
 O. 
 
 Giovanni Odazzi. 
 Ifaac Oliver. 
 Peter Oliver. 
 John van Oolen. 
 Adam van Oort. 
 Jacques van Ooft, the Old. 
 Jacques van Ooft, the Young. 
 Gafp. Jacques van Ooftal. 
 
 II Orbetto. 
 Andrea Orgagna. 
 . . . Orizonti. 
 Bernard van Orlay. 
 Richard van Orlay. 
 
 N. Oflenbeck. 
 Adrian van Oftade. 
 Ifaac van Oftade. 
 Maria van Oftertwyck. 
 
 . Otho van Veen, 
 Andrea Ouche. 
 Jurian O/ens. 
 Robert van Oudenarde. 
 Albert Ouwater. 
 
 P. 
 
 Paolo Antonio Paderna. 
 Francefco Paduanino. 
 Oclavio Paduanino. 
 Dario Padi:ani;io. 
 Alenandro Paduanino. 
 Paolo Pagano. 
 Gregorio Pagani. 
 Giovan. Battifta Pagi, or Paggi. 
 Francefco Paglia. 
 Archangela Palladini. 
 Antonio Pallajuolo. 
 Pietro Pallajuolo. 
 Palamedes Palamedefz. 
 Giacomo' Palma, the Old. 
 
 Giacopo 
 
[ xix ] 
 
 Giacopo Palma, called the Young. 
 . . . Pandolfo. 
 Paolo Panini. 
 Maria Helena Panzacchia. 
 ... Paoluccio. 
 John Parcelles. 
 Julius Parcelles. 
 Juan de Pareja. 
 James Parmentier. 
 Francefco Parmigiano. 
 Jeronimo Parmigiano. 
 Domenico Parodi. 
 
 Jofeph Parrocel, the Old. 
 Charles Parrocel, the Young. 
 Ignatius Parrocel. 
 Giufeppe Paffari. 
 Bartolomeo Pafferotti. 
 Tiburzio Pafferotti. 
 Venturu Pafferotti. 
 
 . . . Paffignano. 
 Lorenzo Paffinelli. 
 . . . Pafqualino. 
 . . . Patel. 
 Joachim Patenier. 
 John Baptift Pater, called Paterre. 
 . . . Paudits. 
 Horatius Paulyn. 
 Ifaac Paulyn. 
 . . . Pellegrino da Modena. 
 ... . Pellegrino Tibaldi. 
 
 . . Pellegrino da San Daniello. 
 Antonio Pellegrini, of Padua. 
 Giov. Francefco Penni. 
 
 Luca Penni. 
 Santo Peranda. 
 Francis Perrier. 
 Pietro Perugino. 
 Petruccio Perugino. 
 Baldaffare Peruzzi. 
 Pefello Pefelli. 
 Bonaventure Peters. 
 John Peters. 
 Gerard Peters. 
 Francis Lucafz Peters. 
 
 John Petitot, the Old. 
 . . . Petitot, the Young. 
 Peter Puteman. 
 Chriftopher Pierfon. 
 
 . . . Pietro, or Pierino del Vaga. 
 . . . Piettfo da Petri. 
 Simon Pignoni. 
 John Pinas. 
 Bernardino Pinturiccio. 
 Sebaftian del Piombo. 
 D avid vander Plaas. 
 
 Matthew van Platten. 
 . . . Pochetti. 
 Cornelius Poelemburg. 
 Charles Francis Poerfon. 
 
 . . . Poiidore. 
 . . . Polidoro da Caravaggio. 
 Antonio Pomerancio. 
 Nicolo Pomerancio. 
 Chriftofano Pomerancio. 
 Rachel van Pool. 
 Juriaen Pool. 
 Giov. Antonio Pordenone, the Old. 
 
 Giulio Pordenone, the Young. 
 Giufeppe Porta. 
 Andrea Pozzo. 
 Francis Port. 
 Paul Potter. 
 Peter Pourbus, the Old. 
 Francis Pourbus, the Young. 
 Francis Pourbus, the Son of Francis. 
 Nicolo Pouffin. 
 Gafpar Pouffin. 
 Mattia Preti. 
 Francefco Primaticcio. 
 Camillo Procaccini, the Old. 
 Julio Caffare Procaccini. 
 Carlo Antonio Procaccini. 
 
 Ercole Procaccini, the Young. 
 Marcello Provenzale, da Cento. 
 Peter Paul Puget. 
 Domenico Puligo, or Puglio. 
 Giacomo da Puntormo. 
 Adam Pynaker. 
 
 Ludovico Quaint. 
 Erafmus Quellinus, the Old. 
 John Erafmus Quellinus, the Young. 
 
 R. 
 
 Bernardo Rachetti. 
 
 Gerard Rademaker. 
 Abraham Rademaker. 
 Francefco Raibolini. 
 Padre Felice Ramelli. 
 John Raoux. 
 . . . Raphael, D'Urbino. 
 . . . Raphael da Rhegio. 
 John van Ravefteyn. 
 Hubert van Ravefteyn. 
 Nicholas van Ravefteyn. 
 Tommafo Redi. 
 Antonio Regillo. 
 
 c 2 
 
 Wen cel. 
 
 mil 
 
Wencel. Laurent Reiner, 
 
 . . . Rembrandt. 
 . . . Refchi. 
 Peter Reuven. 
 Jan de Reyn. 
 Giufeppe Riberai 
 Sebaftian Ricci. 
 Marco Ricci. 
 Daniel Ricciarelli. 
 Domenico Riccio. 
 Claudio Ridolfi. 
 John Klaafze Rietfchoof,. 
 Henry Rietfchoof. 
 Hyacinth Rigaud, 
 John Riley. 
 Orazio Riminaldi. 
 Anthony Rivalz. 
 Giacomo Robutti. 
 
 Peter Roeftraeten. 
 Conrade Roepel. 
 . . . Roger of BrulTels. 
 Martin Rokes. 
 Roland Roghman. 
 Giov. Francefco Romanelli. 
 Urbano Romanelli. 
 Girolamo Romanino. 
 
 . . . Romano. 
 Theodore Rombouts. 
 Chriftofano Roncalli. 
 
 N. Rontbout. 
 John Albertz Roodtfeus. 
 Jacques de Roore. 
 John Hendrick Roos* 
 Theodore Roos. 
 
 Philip Roos, called Rofa da Tivoli. 
 John Melchior Roos. 
 Salvator Rofa. 
 . . . Rofalba. 
 Cofimo Rofelli. 
 Francefco Rofli. 
 
 . . . Rofli Vicentino* 
 • . . Roflb. 
 Pietro Rotari. 
 John Rothenamer. 
 James Roufleau. 
 Mademoifelle Rozee. 
 
 Pet. Paul Rubens. . 
 George Philip Rugendas. 
 Rachel Ruifch. 
 Jacob Ruyfdaal. 
 Solomon Ruyfdaal. 
 Martin Ryckaert, the Old. 
 David Ryckaert, the Young* 
 Peter Rylbraeck, 
 Nicholas Ryckx. 
 
 & 
 
 Andrea Sacchi. 
 Cornelius Sachtleven. 
 Herman Sachtleven. 
 Ventura Salimbeni. 
 Van Salm. 
 Giovan. Battifta Salvi. 
 
 Giufeppe Salviati. 
 Francefco Salviati. 
 Joachim Sandrart. 
 Simone Sanefe. 
 John Baptift Santerre. 
 
 «. .. . Santi di Titi. 
 .. . . Sarezana. 
 Andrea del Sarto.- 
 Roland Savery. 
 Gilles Schagen. 
 Godfrey Shalcken, or Scalken* 
 William. Schellinks. 
 Daniel Schellinks. 
 Andrea Schiavone. 
 Bartelemi Schidone. 
 Anthony Schoonjar.s. 
 John Henry Schoonefeld. 
 John SchooreL 
 Cornelius Schut^ 
 Theodore van Schuur. 
 Chriftopher Schwarts. 
 Bernard SchyndaJ. 
 ^ . . Sebaftian Venetiano. 
 Gerard Segers. 
 Daniel Segers. 
 Hercules Segers. 
 Girolamo Sermaneta. 
 Caefare da Sefto. 
 John Sibrechts. 
 . . . Siciolante. 
 Luca Signorelli. 
 Giovan. Andrea Sirani. 
 Elizabetha Sirani. 
 Violante Beatrice Siries. 
 John Peter van Slingeland. 
 Jacques vander Sluys. 
 
 Gafpar Smitzs, called Magd. Smith* 
 Lodowick Smits. 
 Peter Snayers. 
 John Snellinck, 
 Francis Snyders. 
 Gerard Soeft, 
 Giufeppe dal Sole. 
 AntonioMariadal Sole. 
 
 Francefco Solimenat 
 Joris van Son. 
 John van Son* 
 
c 
 
 . . . Sophonifba. 
 ~,3$.°Jrick Martin Sorgh. 
 
 Pietro Sorri. 
 . . . Spagnoletto* 
 • . . Spagnuolo. 
 N. Spalthof. 
 H. Spierings. 
 Albert van Spiers. 
 John Spilberg. 
 Adriana Spilberg. 
 . . . Spinello, Aretino. 
 Paris Spinello. 
 Bartholomew Sprangher. 
 Francefco Squarcione. 
 
 Henry Staben. 
 Palamedes Staevarts, 
 Anth. Palamedes Staevarts. 
 
 Adrian Stalbemt. 
 Francis Stampart. 
 Gherardo Stamina. 
 Jan Steen. 
 . . . Stefano. 
 Giovan. Battifta Stefanefchi. 
 Jacques Stella. 
 Francis Stella. 
 Henry Stenwyck, the Old. 
 Henry Stenwyck, the Young. 
 Nicholas de Helt Stoccade. 
 Abraham Stork. 
 . . , Stork- 
 John Stadanus* 
 Jurian van Streek. 
 Henry van Streek. 
 N. Streten. 
 Peter Strudel.. 
 . . . Studio. 
 Erneft Stuven. 
 Lambert Suavius. 
 Peter Subleyras., 
 Juftus Suhtermans, 
 Herman Swanfeld. 
 Euftachius le Sueur. 
 Daniel Syder. 
 
 Andrea Taffi. 
 Emilio Taruffi. 
 Agoftino Taffi. 
 
 Lazaro Tavarone.. 
 Anthony Tempefta. 
 Peter Tempefta. 
 David Teniers, the Old. 
 David Teniers, the Young. 
 . . . Terbruggeiu 
 Gerard Terburg. 
 
 ~. . Terenzio. 
 Auguftin Terweften, 
 Matthew Terweften. 
 Pietro Tefta. 
 John Philip van Thielen. 
 MariaTherefa van Thielen. 
 
 Anna Maria van Thielen. 
 Francif. Cath. van Thielen. 
 
 Jacques Erneft Thomas, ofLandaw, 
 Sir James Thornhill. 
 Aleflandro Tiarini. 
 . . . Tibaldi. 
 Philip Tideman. 
 Egidius van Tilborgh. 
 
 . . . Timoteo, da Urbino, 
 Tiberio Tinelli. 
 . . . Tintoretto. 
 Marietta Tintoretto. 
 Domenico Tintoretto. 
 . . . Titi;. 
 Tiberio Titi. 
 . . . Titiano. 
 Girolamo Titiano. 
 La Tombe. 
 Jacques Toornvliet* 
 Flamminio Torre. 
 
 John Torrentius. 
 Pierre Charles Tremolliere. 
 Francefco Trevifani. - 
 Girolamo da. Trevigi. 
 Cornelius Trooft. 
 Francis de Troy. 
 John Francis de Troy. 
 Rombout van Troyen. 
 Theodore van Tulden. 
 
 Francefco Turbidoi or Torbido. 
 Aleflandro. Turchi. 
 Peter Tyfl'ens. 
 N. Tyflens. 
 
 V. 
 
 Louis de Vadder. 
 . . . Vaga. 
 Wallerant Vaillant. 
 Bernard Vaillant. 
 . . . Valentino., 
 . . . Valkenburgh. 
 
 Dirk Valkenburgh. 
 Henry Vanbalen. 
 . . . Vandieft. 
 Sir Anthony Vandyck. 
 Philip Vandyck. 
 . .. Vanderdoes. 
 John Van Eyck. 
 
 Hubert 
 
[ xxii ] 
 
 Hubert 
 John 
 John 
 Jacques 
 John Baptift 
 Carlo 
 Charles 
 Jacques 
 • • • 
 Adam 
 
 Paul 
 Joris 
 
 Adrian 
 
 Adrian 
 Efaias 
 William 
 William 
 Adrian 
 Adrian 
 Roger 
 Francefco 
 Ottavio 
 Andrea 
 Lucas 
 Jacques 
 Louis de 
 Dario 
 Alefiandro 
 Giorgio 
 Antonio Maria 
 Antonio 
 Paolo 
 Giovanni da 
 Jacob vander 
 Terenzio da 
 Adrian van 
 Pietro da 
 
 Francefco 
 Horatio 
 Don Diego 
 
 Antonio 
 Domenico 
 
 Gertrude 
 Marcello 
 Henry 
 Gafpard Peter 
 
 Van Eyck. 
 
 Vangoyen. 
 
 Van Huyfum. 
 
 Vanloo. 
 
 Vanloo. 
 
 Vanloo. 
 
 Vanmander. 
 
 Van Ooft. 
 
 Van Ooft. 
 
 Van Oort. 
 
 Van Opftal. 
 
 Van Orlay. 
 
 Vanfomeren. 
 
 Vanfon. 
 
 Vanfon. 
 
 Vanderburgh. 
 
 Vandermeer. 
 
 Vandermeulen. 
 
 Vanderneer. 
 
 Vandervelde. 
 
 Vandervelde. 
 
 Vandervelde, the Old. 
 
 Vandervelde, the Young. 
 
 Vandervenne. 
 
 Vanderwerff. 
 
 Vanderweyde. 
 
 Vanni. 
 
 Vannini. 
 
 Vanucchi. 
 
 Van Uden. 
 
 Van Uden. 
 
 Vargas. 
 
 Varotari. 
 
 Varotari. 
 
 Vafari. 
 
 Vafallo. 
 
 Vaffilacchi. 
 
 Uccello. 
 
 Udina. 
 
 Ulft. 
 
 Urbino. 
 
 Utrecht. , 
 
 Vecchia. 
 
 Vecelli. 
 
 Vecelli. 
 
 Vecelli. 
 
 Velafquez. 
 
 Venetiano. 
 
 Venetiano. 
 
 Venetiano. 
 
 Venius. 
 
 Venius. 
 
 Venufti. 
 
 Verbruggen. 
 
 Verbruggen. 
 
 Giovanni Mario 
 Simon 
 Herman 
 Cornelius 
 Mademoifelle 
 Adrian 
 
 Tobias 
 Francis Peter 
 Peter Cornelius 
 Gyfbert 
 Jan 
 Nicholas 
 John Cornelius 
 Andrea 
 Paolo 
 Alexander 
 Antonio 
 Henry 
 William 
 Daniel 
 Ary Hubertz 
 Francis 
 Giovanni 
 Domenico Maria 
 
 Lionardo da 
 David 
 Vincent vander 
 Lawrence vander 
 Giovanni Battifta 
 Giovanni della 
 Ottavio 
 Jofeph 
 Peter 
 Hendrick van 
 Charles Boftchart 
 John 
 Daniel da 
 Baldaflare 
 John 
 Martin de 
 Simon de 
 Paul de 
 John 
 Simon 
 Ary de 
 Sebaftian 
 J. Fredeman de 
 Henry Cornelius 
 
 Verdizotto. 
 
 Verelft. 
 
 Verelft. 
 
 Verelft. 
 
 Verelft. 
 
 Verdoel. 
 
 Verendaal. 
 
 Verhaecht. 
 
 Verheyden. 
 
 Verhoeck. 
 
 Verhoeck. 
 
 Verkolie. 
 
 Verkolie. 
 
 Vermeyen. 
 
 Verocchio. 
 
 Veronefe. 
 
 Veronefe. 
 
 Verrio. 
 
 Verfchuring. 
 
 Verfchuring. 
 
 Vertangen. 
 
 Verveer. 
 
 Verwilt. 
 
 Viani. 
 
 Viani. 
 
 Vincentino. 
 
 Vinci. 
 
 Vinckenboom. 
 
 Vinne. 
 
 Vinne. 
 
 Viola. 
 
 Vite. 
 
 Viviani. 
 
 Vivien. 
 
 Vlerick. 
 
 Vliet. 
 
 Voet. 
 
 Vollevens. 
 
 Volterra. 
 
 Volterrano. 
 
 Voorhout. 
 
 Vos. 
 
 Vos. 
 
 Vos. 
 
 Vofterman. 
 
 Vouet. 
 
 Voys. 
 
 Vranx. 
 
 Vries. 
 
 Vroom. 
 
 W. 
 
 Lucas de Waal. 
 Cornelius de Waal. 
 
 Robert 
 
 ■a. 
 
C xxiii ] 
 
 Robert Walker. 
 John Abel Waflenbeig. 
 Anna Waffer. 
 Anthony Waterloo. 
 Anthony Watteau. 
 Anfelme Weeling. 
 John Baptift Weeninx, the Old. 
 
 John Weeninx, the Young. 
 Chevalier Werff. 
 Peter vander Werff. 
 Jofeph Werner. 
 Gerard Wigmana. 
 Adam Willaerts. 
 Abraham Willaerts. 
 . . . Willeborts. 
 John Wildens. 
 Michael Willemans. 
 Jofeph van Winghen. 
 Jeremiah van Winghen. 
 Giles de Winter. 
 William Willing. 
 Matthias Withoos. 
 John Withoos, 
 Peter Withoos. 
 Francis Withoos, 
 Jacques de Witt. 
 Emanuel de Witt.. 
 
 Henrietta Wolters. 
 Francis Wouters. 
 Philip Wouwermans. 
 Peter Wruvvermans. 
 John Wouwermans. 
 Matthias Wulfraat. 
 Thomas Wycke, the Old. 
 John Wycke, the Young. 
 John Wynants. 
 Matthew Wytman. 
 
 Z. 
 
 Martin Zaagmoolen. 
 
 Matteo Zaccolini. 
 . Zampieri. 
 
 Filippo Zanimbertu 
 
 Battifta Zelotti. 
 , .. . Van Zoon. 
 
 Marco Zoppo. 
 
 . . . Zorgh. 
 
 . . . Zouft. 
 
 • , . Zoutermans- 
 
 Taddeo Zucchero. 
 Federigo Zucchero»- 
 Lambert Zuftrus, 
 
ERRATUM. 
 
 F. 8of, )inc z\t/or Jerfey read GMmt&y, 
 P. 824, In the Dire&ion Line, at the Bottom of the Page, for It read What 
 
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